This particular series is inspired by the early Renaissance study of geometry. I was also interested in exploring the dichotomy between the bold, unapologetic impasto of Rembrandt and the graceful, elegant glazes used by Maxfield Parrish with a view to create compelling textures.
What I found between the thick beeswax medium and thin oil glaze was a dynamism that on one hand helped draw the eye, and on the other, characterised a sequence of conceptual polarities I find intriguing: freedom vs control; mind vs body; and the internal vs the external.
My hope is that as you look into each of these paintings you can see yourself. Simultaneously, I want you to feel as though the painting sees you too. It’s easy to look at humanity as a collective and see growing apathy and aggression, but when I look closer, I see individual beauty and vulnerability, I see people isolated and lonely. It’s rare to stop and take a look, but when you do, the crowd feels less scary, and you feel less alone