My art does not portray subjects at their most prettiest; being pretty is not the point. Being more raw, I like to think they are more authentic, more honest. I try to cultivate a milieu of ambiguity with characters that are in their intentions and motivations vague. Having said the latter sometimes the image is what it purports to be, simple and to the point.

I like to capture that which is between the skin and the soul.

The images in my exhibitions are sometimes more perfunctory, but at the same time carry with them baggage of quirkiness and idiosyncratic meanings and presentation.

My Arctic depiction of towns and hamlets strive to give a sensation of the place rather than a slavish depiction of buildings and roads. In so doing I try and keep the image fresh and subtly changing with times passage. Accurate renditions have the danger of becoming boring with their character of a rigid façade and visage. Images or feelings for the place on the other hand carry with them the possibility of malleability and plasticity, a quality that can maneuver the currents of space-time more successfully than can a” precise reality”.   

My paintings are usually jumping off points to my poetry and short stories. After completion of a painting it often congers up words that develop into stories in their own right. It is important to note that these stories are not written in stone but are my interpretation at a moment in time. I am pleased when my paintings elicit ambiguity. For me if I paint a “duck” it will always be a duck, now and a thousand years from now. With a rigid reality and meaning it loses mystery and some life, with the distinct possibility of becoming boring.  Painting for me needs to engender as much mystery as it can; the more mystery the more alive it becomes now and into the future. It cannot be boring if it continues to be mysterious.