My acrylic painting practice is focused on two series which I have been developing since 2010: abstract geometric and my Kiwiana series.

 

The first abstract geometric series takes my printmaking methods using stencils, flat colour, sharp clean line work and layering as core aesthetic and process characteristics. The unique combination of  techniques together with my uniquely developed process have resulted in a collection of paintings with a singular aesthetic, unmistakeable and defined - all of which have a strong bold presence. Colour theory is foundational always - a significant amount of time is committed to the preparatory stages of a painting with colour mixing, colour selection and palette refinement. The addition and balancing of acrylic mediums to create optimal pigment texture and tone is also crucial to creating surface and substrate which are both honed to aligning colour relationships - the tone of each work being driven by the carefully assembled colour narratives.  Finessed surface treatment using lush acrylic in stacked layers applied with a textured brush makes for interplay in the grain or weave of each colour plane, almost like an interwoven surface - the materiality of each piece being a core feature.

 

Shapes and specific colours were arranged and layered to create configurations which prompt the feel of a place and time. A bit like arranging and layering individual sounds in a piece of music to generate a new sound comprised of the combined individual elements.

 

An ever-evolving series this collection offers infinite possibility for exploration and evolution.

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An expansion of this original abstract series resulted in a set of paintings which are very well loved specifically amongst my New Zealand clients which fuse the geometric abstract described above and  my New Zealand flora and fauna prints. Stylised Kererū, Tūī painted amongst cherished landmarks and endemic New Zealand Pohutukawa and  Kōwhai populate compositions balanced using bold graphic colour shapes.