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My approach to producing paintings based on photographic images centres around an aim to take the final work beyond what a single photograph could be.
This is realised through several different means.
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Although much of my work has a standard angle of view , I quite often make use of several different photographs combined together to make the optimum composition.
This approach gives me the freedom to move beyond the limitations of a simple enlargement. I also often move the perspective around to blend together any differences
in source images and to naturalise the view.
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Achieving the right colour balance is very important to me and forms an integral part of the painting.
I like to employ a small set of colours which I know intimately and with this palette I am able to produce a range of harmonic and natural hues which form a crucial
aspect of the organic feel of my work
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I am very concerned that the finished work is understood as and works primarily as a painting. When working on the painting ,
I interpret quite heavily the information available to me which may be photographs of and around the scene and of course memory and
imagination play an integral part of a creative process.
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Throughout my painting practice is the desire to show, in an organic and natural way, my interpretation of a scene which has originally been captured photographically.
I usually adopt an angle of view which approximates what we would see using our own eyes.
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Mood is very important to the finished work , and is an element which is also open to much interpretation through tonal and colour values and the use of visible brushwork
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