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 For centuries, artists have been compelled to paint the most difficult and rewarding subject of all: the human figure. The human figure has represented a rich source of expressive possibilities. Countless artists interpret the subject in such a diverse variety of ways, demonstrating the full potential of the figure as a source of inspiration to contemporary artists.
I have devoted myself to the study and rendering of the figure, which has been my major topic of investigation for the past sixteen years, with careful regard for space and background. This enables me to create a deeper space while still emphasising the vitality of the subject. The use of multiple figures, high contrast of light and shadows, and an increased energy and movement, are the hallmarks which I hope to continue accomplishing.
By increasing the contrast between dark and light tones, a device known as chiaroscuro (literally light/dark), the effect of strong lighting is achieved, resulting in a corresponding increase in the sense of drama. This exaggeration of light and shade was used by Rembrandt, and particularly by Caravaggio.
The technique I have employed is also of great significance within the scope of challenging tradition. The Western tradition of oil paint is treated primarily as an "erasing" medium. Where firstly the canvas is concealed, then stroke conceals stroke. The viewer cannot ascertain the degree to which other surfaces lie concealed beneath the planner display. Therefore my aim is to allow the maximum visibility of the surface and previous marks for the viewer.
The medium I have so far experimented with for this technique is turpentine and gel. The application of the medium breaks up the paint into little rivers and valleys giving an impressionistic effect and at the same time reveals the canvas. This technique is still undergoing further experimentation which makes every new painting an exciting endeavour.
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