Oil on wood, ready to hang.

Signed on the front.

Semi abstract Still life oil painting of some botanical snippets picked on one of my daily walks. Painted onto a thick profile painting board, finished with a satin varnish, ready to hang. I only use professional quality (Gamblin, Wallace Seymour or Windsor & Newton) paints, mediums and varnishes.

This work is from a series i've been quietly working on for the past year called Intersect:

For those of you who enjoy reading:

INTERSECT
For as long as I can remember I’ve been interested in the relationship between art and design. My work sits somewhere between the two, and it’s not always a place I feel comfortable. I have an ongoing internal tussle about where my art belongs. Every now and then I have to down my usual tools and set up a traditional still life scene that I studiously render in oils to prove to myself that I’m a ‘Real Artist’.
The intersect series is about letting go; an admission and acceptance of my design background and a conscious merging of both disciplines into a body of work.
Still life is my favourite genre, yet these flowers in vases are clearly not painted from life. They are informed by synthetic cubist ideals and early pop art, and are unconcerned with form or perspective. Pictorial flatness is a naturally occurring theme in my work after many years designing logos and icons for single colour output, and the restraints of a long print design career have unlocked a deep appreciation and respect for the pleasure of applying the paint itself.
The works in this series explore both painterly and linear techniques, and are characterised by a central line through the composition that serves as the water line, refraction and intersect between the background, vase and surface. This technique somewhat mimics the imaginary grid structure I would use to set type and images in a traditional page layout.