The landscapes may begin as muted studies in atmospherics but evolve into a more colourful, informative conclusion. I start with a basic premise (more sky, lighter, darker etc) but this is quickly shot down as the painting takes on its own life, the composition is crucial in the decision making, as is colour.
The paintings aren’t illustrations, they capture a moment in the British landscape, observed, experienced. The golden hour is a happy fixation, as the sky begins to lose its light & the clouds darken.
There are many processes in the making, sometimes painting on the floor with household paint as washes. The marks can vary from wide sweeps & drags to dabbing off with a napkin minute edges of colour. I don’t want the surface to look daubed or hesitant, there must be a natural fluency, creating an atmosphere, a moment.