I was born in 1951, the sixth of seven children in Yardley,
Birmingham. I cannot remember a time when I did not
paint. Most of my early paintings were imitations of
my older brother Bill’s masterful renditions, who was
naturally a very gifted artist. I was educated at Sheldon
Heath Comprehensive School; and then Birmingham and
Manchester Colleges of Art. Afterwards I taught Art in
Birmingham for six years until I left for Spain, where for
20 years I was in charge of the Joan Miro Centro de Arte
and the Baleares International School. In 1999 I moved to
the USA and my new millennium dawned in New York.
I currently split my time between the Catskill Mountains
of New York and the Gulf Coast of Florida.
In recent years I have, I suppose, become a known prize
winning artist. I have won a number of painting awards
and several “best of shows” throughout the USA. I exhibit
in prestigious galleries from Boston to Miami, Toronto
to Whistler. Of the many prizes I have won in recent years
I regard most fondly the Washington Square Painting
Prize. This is New York Cities oldest art show and
to follow in the footsteps of the many notable artists
that have won this prize before me was, indeed,
a cherished honour.
I have long been an “America fanatic” and I have
always wanted to live in the USA. I have travelled to
almost every state and am still enormously impressed
by the sheer scale of the landscape and it’s enormous
diversity. The American landscape is inspirational
and the country’s paraphernalia such as old cars, old
bars, old guitars and even the occasional naked arse
have found there way onto my canvases. However my
desire for the direction of my paintings have always
been more academic. I sought a subject that in
itself seemed to have little value, hoping that the values
I imparted in the painting alone would form the point
of attack on the senses of which I believe all great art
comprises. This attack is visceral and totally lacking
in sophistication. I often think of it in musical terms;
rhythm, texture, colouration and tonal dynamics.
When I bought my house in the Catskills I found in the
root cellar, case after case of pristine mason jars.
I bought a few up into the kitchen and after studying them
over breakfast for some days I began to see that this was
a quite remarkable subject.
In painting glass one is attempting to render
a surface that is composed entirely of either refracted
of reflected light. The objects are rarely painted as
an independent object. The raised lettering on the jars
and bottles I paint have, by their prismatic nature, an
ability to capture tone and colour from one side of the
composition and pull it to the other. The rhythmic nature
of this lettering provides a stave onto which the decaying
patterns of colour, the tonal crescendos and the reflected
counter melodies are written.
Through painting glass I have exposed an endless path of
discoveries. I can paint photorealist images but also be
more expressionistic whilst achieving what I believe to be
powerful and engaging work of art.