Picture number 8

I like an element of believability in my work as well as the surreal, to try and add more intrigue

I always begin with a preparatory sketch

At times I deviate from the preparatory sketch as I develop the painting on the canvas. It is a constant response process, especially at a bigger scale.

I prefer to use a fine canvas, so before I begin I apply at least 2 coats of gesso (an acrylic paint with some sort of filler binder in it), gently sanding between coats by hand for a flatter and smoother finish. This also helps to provide a key for the oil paint and to prevent it sinking into the canvas. If one is wanting fine detail, a course textured finish would not be suitable. Some artists use the traditional rabbit skin glue with gypsum or similar.

After applying the gesso and letting it dry for 24 hours, I then apply a thin wash layer of red oil paint, which I let dry before working onto it. The red is complimentary for the green and also helps any red items in the paint to stand out more. I dislike oil painting onto a stark white canvas. With oil paints, they are not all fully opaque and the under colour will show through generally, which in turn gives the painting more depth. The more layers one applies, the more the underpainting will disappear. Especially if opaque colours/whites are used.

Once the light wash red layer is dry, I will grid up the picture lightly in pencil and then proceed to draw with a long handle brush and thinned oil paint. One can correct as one goes, using a little spirit and a rag to wipe it off, whilst still wet.

As with all of my current oil paintings, I use my imagination, drawing and architectural design background to create each scene, leaving the viewer to work out their own narrative based on what they are seeing and experiencing. A lot of the subjects are from a past era, when cars, buildings and objects had more character, although not of any specifically identifiable vehicle or structure, because they are mostly from my imagination.