Working in pure abstraction means letting paint do what paint does when it's allowed to move freely: pooling, resisting, finding its own edges. None of this is accidental. It's a conversation with the materials I've been having for as long as I've been painting.

In Evolution, magenta and purple push against each other across the canvas, while gold and softer blues and pinks hold the quieter passages.

My abstract work should never be viewed as a departure from my landscape work. The same fluid mark-making that gives a wave its movement, or captures light shifting over the sea, starts here — in these more unguarded explorations of colour.