My interest in figure must contain elements of scale. At times I feel the need to more closely approximate the size of the figure and the canvas to a relational human dimension, something which landscape cannot for obvious reasons do. For me the interplay between abstraction and descriptive painting contains the key to a high level of visual and psychological interest which seems to be the main component in expressive realism.

In my work I try to avoid prosaic or overtly narrative thematic treatments. Unconscious signification in the image will emerge, if at all, within the stages of working through, in the finished work as well as in studies and quick sketches. It might be noted here that my training in art therapy (1996-1998) has informed the gestalt of my creative process.

My wife has played a strong role in my figurative work, not just because of her steady presence (as muse) but also because generally I paint people who are close to me. This I consider is a main component of romantic tendencies in my work.  


summer apples- oil on canvas- 32 X 42
summer apples- oil on canvas- 32 X 42"
studio figure-  oil on canvas- 12 X 16
studio figure- oil on canvas- 12 X 16"
painter's model - 32 X 40
painter's model - 32 X 40"

My process with human subjects involves a variety of approaches in realizing a motif. Generally I start with thumbnail line drawings in sketchbooks, and from there, and depending on the subject, can use a number of tools ranging from pencil, watercolour or oil preliminaries on a variety of surfaces. I don't have any particular fixed approach, but let the subject suggest a technical means.

I often find these small more intimate images to have strength on their own independent of the more sustained works, and as a result I value their spontenaity.