MATTHEW WONG

Untitled, oil on canvas, 100 X 80 cm

 

 

 

What are you working on in your studio right now?

 

 

My main studio for oil painting is in Zhongshan, China, and at the moment I am working on a large batch of canvasses in preparation for my first solo exhibition, which will be held at the artist village compound where my studio is located. The show is currently planned for Easter 2014. I spend half my time there, the other half in Hong Kong, where I have works on paper and an assortment of smaller paintings on board and smaller canvasses being worked on on a daily basis.

 

 

 

Can you describe your working routine?

 

 

My working routine is not really fixed according to any schedule, but when I am in Hong Kong, work begins from the moment I wake up in the morning and usually carries on, on and off, until I retire very late at night. The only thing that takes place at the same time every day is when I get out of bed, I have to do an ink drawing before doing anything else, such as brushing my teeth or eating. I spend a good part of the daytime at the library writing poetry and poring over art books, as well as photographing around town but with no fixed project or goal in mind. In the evenings after dinner I'm usually listening to music, looking at art online, and then drawing/painting until around 2 or 3 A.M. In Zhongshan the schedule is a bit more disciplined, as I don't do as much poetry or photography up there. I basically go into the studio in the mornings and paint until the early evening, pretty much every day of the week.

 

 

 

 

 

 

 

 

 

 

 

Can you describe your studio space and how, if at all, that affects your work?

 

My studio space in Zhongshan is a larger, proper studio set up so I have more freedom of movement when working there, can work on bigger pieces, and also since it is purely a work space where I do not live, it gets pretty messy as my painting process is quite physical. In Hong Kong I just work in my apartment's living room, where I still make a mess that I have to clean up, but due to the significantly smaller space I generally don't work on anything bigger than 30 X 22 inches (76 X 56 cm) there.

 

 

 

 

 

Untitled, acrylic on paper, 76 X 56 cm

 

 

 



 

Tell me about your process, where things begin, how they evolve etc.

 

My process is fairly intuitive without much attention paid to a larger conceptual framework or serial working manner at the moment. I began teaching myself to draw and paint from scratch since 2012, so it is still very early for me and I am just trying to see 'what the paint does,' as I believe Robert Ryman once said of his own beginnings as a painter. At the center of my practice is exploring the materiality of paint and struggling to yield a surface that gives a sense of space and structure, however contradictory, that reaches a state of form I can live with. As it is, I have gotten to a stage in the past few months where there is starting to be some consistency and integration from work to work, often with a landscape-like space or an archetypal suggestion of figures/figuration somewhere in the picture plane. I figure these basic painterly tropes are a good starting point for me to establish my visual vocabulary and also have a dialogue with the paintings of the past and present that I admire and learn from looking at.
 

When I actually get to paint, there really isn't any methodical approach or system to what I do. A color may just come to mind at random, and I will begin putting that onto the surface, making gestures without any plan or expectation of what I am going to get out of it, but one mark responds to another, colors start piling up, getting scraped away, and built up again, and so on and so forth, and somewhere along the line I always reach a certain point where I can intuitively sense the general shape and structure of the image I need to work towards. Once I get to that point, it is just a matter of continuing to work the painting in that direction, and to clarify that very vague and fleeting but definitely there inkling of what the image would be. Sometimes I could just be making marks almost haphazardly and at a certain point I step back and realize I have a finished, satisfactory image that I have no idea how I managed to pull that one off. I'm just going with my gut at the moment. But often times, my gut also cancels itself out and I keep painting over an image with a totally different image, and work like this can go on for months before a single surface is resolved. But of course, it may not be resolved anymore a bit further down the road, so we will see! The key for me is to remain open and receptive to my creative instinct, but also to be able to let go at times and accept.

 

 

 

 

 

 

 

Top: Harbinger, ink on paper

Middle: Untitled, ink on paper

Below: Sparrow's Flight, ink and acrylic on paper

all 76 X 56 cm

What are you having the most trouble resolving?


I guess the thing I am having the biggest difficulty resolving right now is whether to work in a manner where I strive to make pleasing, beautiful images that other people can like and accept easily, therefore giving the impression that I am a "good" painter, whatever that means, and making that an end in itself, or to also be able to accept the parts of my creativity that occasionally yield up ugly, difficult pictures and seeing where those take me. I am still young and it is natural I suppose for someone at my age to want to be heard and understood in the world, to be liked and respected. But many of the painters I admire seem to have moved beyond this, and are able to really paint out of themselves without the need to impress in particular. I hope I can develop the courage to get to that stage someday, as I realize the habit of simply making well qualified, impressive work that does not really challenge some existing standards of form and aesthetics is also a symptom of much art out there that heavily caters to the marketplace. I must always keep in mind to prioritize constant movement and experimentation over the acquisition of virtuosity.

Untitled, oil on canvas, 100 X 80 cm

 

 

 

 

 

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

 

I like to work in different mediums: oils, acrylics, ink, watercolor and gouache, and I don't really place any of them in higher importance than the rest, even though I sometimes receive feedback such as "your ink works are more consistent than your oils" or something like that.. All still fairly traditional materials, but I like to experiment with each of them and figure out what properties and resistances they yield, and sometimes in combination with each other. This is a good way for me to learn about paint itself and how it engages with different surfaces, such as paper, canvas, wood, etc.

 

 

What does the future hold for this work?

I really do not know what the future holds for my work, except that I'd like to keep making it and hope that more people will be able to see it, especially in the flesh. Facebook has been great as it has brought me out of isolation and put my images on public circulation for anyone to access and have a dialogue with, but the tactile nature of my work also requires a personal, physical presence to be really engaged with.

 

 

 

Is there anything else you would like to add?

 

 

Thank you Valerie for giving me the opportunity for this interview and for the chance that more people can find out about what I do. I'm still learning, so I am grateful to have this platform at this stage for me.

 

 

 

Paradise, oil on canvas, 220 X 170 cm

 

 

 



PHILLIP J MELLEN

13" x 9", acrylic and house paint on foam, 2013

 

 

 

 

What are you working on in your studio right now?


I am working on a new series on shaped foam. The goal is to see if I can treat the 'face' of a painting a little more three-dimensionally. On certain pieces, I try to incorporate the sides more, along with the different picture planes I create by shaping the foam. Sometimes I get lost in the painting process and this doesn't always happen. The paintings often stay in the realm of a 'traditional' front, sides etc. I am trying to eliminate that fact, as I said, by shaping the supports a little more. I am determined to see where this approach will take me.



Can you describe your working routine?

Mornings are tough. I am often taken over by distractions. As the day moves to afternoon is when I get started on painting for the day. I like to have a large block of time while working. I hope to have at least 3 days straight in which to work. I try and shut out the world and work.

 

 

 

 

 

 

 

 

 

 

 

Can you describe your studio space and how, if at all, that affects your work?

 

 

My studio is a total mess. I do manage to keep a smaller organized area where I paint, so I guess it has a balance. I have been painting on a table more recently, especially on the new smaller works. Some of my older works are off in the corner, I sometimes think about getting a dumpster to clean out the old work. I feel as if I am no longer ‘there’, like I’m done with those works. Hopefully that is a sign of growth as an artist.

 

 

 

 

 

18" x 11", acrylic and house paint on foam, 2013

 

 

 

 

 

Tell me about your process, where things begin, how they evolve etc.


My process sometimes begins with a small sketch of a shaped support I would like to work on. Other times it starts when I decide to pick up the hand saw and sculpt a shape out of the foam with no preconceived idea about an outcome.
In the process, I will occasionally take short breaks and that can really help things along. I will step away from the work and not look at it. I am not always sure of every ‘painting move’ to make next. These little breaks can bring new clarity on how to take the next step.



What are you having the most trouble resolving?


My issue with not cleaning my brushes.



Do you experiment with different materials a lot or do you prefer to work within certain parameters?


I am sort of sticking to the foam and acrylic and house paint at the moment. I am really impatient and can’t stand waiting for paint to dry. Though the pause of paint drying often helps with generating ideas and titles for paintings. I have worked with wood, paint and foam together in the past. Although, the two “works in progress” paintings I included, incorporate fabric, acrylic and house paint and foam.

in progress

 

 

 

What does the future hold for this work?


Hopefully more and more of it. I am searching, in hopes of unlocking possibilities with these materials. I am a wanna-be builder of sorts and I plan on pushing the three-dimensional quality as the series progresses. We shall see.



Is there anything else you would like to add?


Thank you for the opportunity to share with you and your readers. I have to say that this was inspiring, thanks again!

13" x 12", acrylic and house paint on foam, 2013



LOUISE P SLOANE

VioletsRed, 2013
Acrylic Paint on Bent Aluminum Panel
56 x 48 x 3/8 inches

What are you working on in your studio right now?


I am constantly engaged in the creation and production of new paintings.  As each work signals the path to the next, my inspiration and energy never wanes.  Color combinations most often appear in dreams, and I keep a pad and pencil by the bed.  The colors generally present themselves in my mind’s eye with tremendous clarity and force – waking me from sleep. 



Can you describe your working routine?


I’m very fortunate to have my studio space at home.  My regular routine is to awaken, make a cup of coffee and go directly into the studio.  Not having to travel makes this transition extremely easy.  I like to take care of email and correspondence in the morning.  By late morning, I’m in my coveralls and am painting.   I generally don’t break until late afternoon.   I’m back in the studio painting before 6PM.  I can usually get in a couple of hours before stopping to prepare and eat dinner.  Many nights I go back to work and will paint straight thru until the morning.  I do not find that I am happy away from my work and do not often go far from my studio.  I do try to make time to attend exhibitions and openings that have significance to me, but once I am immersed in a piece, everything else falls by the wayside.

 

 

 

 

 

Can you describe your studio space and how, if at all, that affects your work?

 

 

My studio space is a 500 square foot room with northern skylights and soaring ceilings – 16’ high.  It’s a beautiful and well lighted space and I’ve been very happy painting here for the last 20 years.   Having a comfortable accessible studio space makes my work process very easy.  All I have to do is walk through an interior door from my home and I am at work.  For me this has been a vital part of my professional development.  I’ve had a large studio attached to my residence since 1974.  I know that many artists prefer to have their workspace in another location.  For me having 24/7 access without travel significantly impacts my productivity and capability to explore any and all ideas: sheer bliss.

 

 

 

 

 

 

 

 



 

Tell me about your process, where things begin, how they evolve etc.

 

 

I approach each painting as though I have never painted this image before, allowing the works to evolve organically.  The only set parameters are those surrounding preparation.  Each panel must be degreased, sanded rough, cleaned and have a bonder applied so that my acrylic paints will adhere to the surface.  Then I apply a layer of white acrylic gesso.  Every work has a grid drawn onto the surface.   Laying in the texture is physically challenging.  I like to put down each quadrant during one session – this gives the overall texture of that portion a cohesive conforming surface. Each time I leave the studio and return, there is a slight difference, as my hand adjusts to the pressure of the process.  This thick surface needs to dry hard before I can begin the next portion of the painting, which is where my heart and soul really take over and I feel like I am painting.  Often during this drying time, I will create color studies on paper, tyvec or any other flat surface I have at hand.  I find that this keeps my senses heightened to various color relationships and textures.   There is an ebb and flow that each painting generates, and I follow its lead.  The works all address my interests in language, texture, color and geometry.   The juxtaposition between thin and thick, for whatever reason, is particularly attractive to me. My most recent works are densely textured while maintaining a thin profile – usually 1/8” thick. I also have been trying to maintain sizes of works using a 10:9 ratio as my gauge.  I enjoy the play of the painting when it is slightly off square, with square either at dead center or slightly off, anchoring the entire

image.

From top: YellowsLightBUSquare, GreensOrange, DeepGreensViolet
All are acrylic paints and pastes on 300# Cold Press Fabriano Paper 30 x 22 inches. 

All photos of works on paper are Photo Credit:  D.James Dee

 

 

 

 

What are you having the most trouble resolving?

 

 

A quest for resilient responsive brushes that don’t wear out from the application of paint onto the hard and unforgiving surfaces is ongoing.    While painting the negative spaces, I use very small brushes (0,1,2).  I buy them by the dozens, and never seem to have enough on hand.  Additionally I am working with a designer to create strainers that can maintain an ultra thin profile and be lightweight.  I enjoy experimenting with various paints and materials, always looking for new ways to express light and texture.  As the evolution of my work dictates improvisation, there are often “mistakes”. These mistakes generally lead to new and exciting changes in the work.   Golden has a terrific tech department and I am constantly receiving new materials to explore.  I think that it is very important for artists to find ways in which to move out of their own comfort zones to keep their work fluidly moving forward. The consistent daily time in the studio feeds this type of creative process.  Although I am indeed the painter, the works have a life of their own – I’m just following their cues.    I anticipate that the work will continue to inspire and surprise me while maintaining its integral tie to past abstraction and adding to the current dialog. 

YYLB  2013  52 x 46 x  1/8 inches acrylic paints and pastes on bent aluminum panel.
Below: YYLB-section detail 
Photo Credit:  Etienne Frossard



 

NICK CARRICK

Dwelling, oil on linen, 46cm x36cm 

 

 

 

 

 

What are you working on in your studio right now?

 

 

I have just completed a week long artist residency at an artist run gallery in Brighton called The Communi  Ty Arts Centre .I wanted to make work that was between painting, sculpture, collage and assemblage. and also between representation and abstraction  .I found when I cut into the canvas it made an opening .I then attached string and hung the work up in the middle of the room, this made the viewer see through the work and   able to walk around the piece seeing the back of the work as well as the front. This created a sculpture. I also have been making collages and three dimensional objects out of old paintings I have cut up in the past. I made a mountain range from cut up paintings assembled on an old wooden table.

 

 

 

Can you describe your working routine?

 

 

It’s quite sporadic. If I’m not in the studio I am mostly thinking about the next work. I accumulate ideas by sketching, taking photos reading books and articles these things normally create a starting point for me to work from. If I am in the middle of a series of work I have more of a set routine and am in the studio from about 9am till 9pm.I work fast and can paint a painting in one sitting because I want to capture that immediate quality. Sometimes there can be problems and obstacles to a painting or piece of work, so I try and rectify these before leaving the studio. I do not like leaving the studio if there is work I do not like on the walls. I would not be able to relax at night.

 

 

 

 

Installation view of Communi ty arts centre

 

 

 

 

 

Can you describe your studio space and how if at all it affects your work?

 

 

I used to share a studio with someone and although I enjoyed it I felt I was not connecting to the work as well. I now have a cabin of my own at the bottom of  my garden and feel I can be a lot more experimental .Its quite an isolating experience which I think comes across in the work  I am doing now.

 

 

 

 

 

Mountain Range, 3D collage

 



 

 

Tell me about your process, where things begin, how they evolve etc?

 

 

I have a vast collection of imagery, ranging from newspaper clippings, old photos , old paintings ,paint splattered cloths and old paper. These act as a spring board into a painting.’ The painting will go through many changes and eventually be completely different to the original photo. I want the work to take on a life of its own freed from its referent. The act of painting becomes as important as the final piece. It’s important to feel lost between the start and the finish of a painting but then arriving at something you are happy with.  The subject of my work is essentially escapism. This can be portrayed by being lost in the making of the work itself or by painting actual everyday life that has elements of escape for example: trains, planes and holidays. I think it is more about escaping the mundane everyday life and connecting with something more spiritual and poetic, or trying to make a connection between everyday life and something more metaphysical.

 

 

 

 

 

 

 

 

 

 

What are you having the most trouble resolving?

 

 

I suppose its bringing all the elements together to make a coherent body of work as a whole. But then I think that it doesn’t matter that it is disjointed .The steady theme that runs through my work is the notion of escaping ones self. The similarities   how I work are in my own style. Whether the work is abstract, representational, sculpture or in any media is irrelevant. When I am working on a painting the problems I come across are about composition and balance .It sometimes seems like a gamble to paint, it can go both ways, either be awful or amazing .Its that feeling that makes me want to do more. I am currently working on some larger works after a long time working on small paintings. This is proving to be a lot more problematic than I thought. The painting cannot be just a reproduction of the smaller works, there has to be an element of surprise and chance in them.

 

 



 

 

Found Photograph

 

 

 

 

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

 

 

I have recently started collaging and assembling recycled cut up paintings this only happens when I have enough detritus to make new work. I have started using found wood, string and masking tape to hold things together. I want the sculptures to look as naïve and crude as I can and not look crafted in any way. I want them to look playful.

 

 

 

What does the future hold for this work?

 

 

The sculpture is in its infancy but I would like to create a series of works with them. I would like to do more residencies where I can make more site specific work and have that sense of creative freedom.

 

 

 

Is there anything else you would like to add?

 

 

I will be showing some paintings at The Sluice Art Fair 2013 in Bermondsey London in October

Thank you for interviewing me


 

 

 

 

 



SIRI KOLLANDSRUD

Untitled, 2013, oil on canvas, 150 x120 cm

 

 

 

 

What are you working on in your studio right now?

 

 

I have started working on a new series of paintings which are 150x120 cm. in size, and I continuing working on some older pieces in various sizes. I am also making crochet objects, which I call "crochet growth or crops". I just finished an installation in Gallery Merde, Copenhagen.

Can you describe your working routine?

 

 

I don’t have a very regular routine. I can work at any time, depending on whether I have a show coming up or how busy I am with other work, but preferably I come to my studio early morning having a long day to "waste time". Getting into the work, look and wait. But lately I mostly just start painting almost at the very moment I enter my studio. I work maybe one or two hours on one or more pieces. Then I sit and look. And then maybe continue on the same or other pieces. Some days I can also paint non stop for hours and others not at all. Then I look and think, write, draw or something else. But most days I paint something. I’m always having many pieces going on at the same time. Sometimes it’s a bit like every day I begin from a new zero. I don’t know at all how to do it, but of course it’s also nonsense to say, after so many years of experience and practice. I come to my studio almost every day. I also work at home, on paper and the computer.

 

 

 

 

 

Can you describe your studio space and how, if at all, that affects your work?

 

 

I love my studio. It’s only about 10 minutes on bike from my home in an industrial and living area, with other studios and close both to the centre and the sea. The studio is not so big and has four south facing windows. This means the light changes a lot and the room can be like an oven, in hot weather. The light is of course very important for me as a painter. (So when it is cold and grey outside I am mostly happy.) In the beginning I found this quite challenging, like I had to work more quickly than before when I had 3 big north windows with the perfect clear stable light. But I got used to this sunshine now, (I have been here many years), and its fine. I move around, use curtains and a cap. I work mostly on the floor or wall.

 

 

Tell me about your process, where things begin, how they evolve etc.

 

 

I might start a painting with a vague or clearer idea. It can come from everywhere or anything. Like a collage of visual and mental observations.  Some things I see, think, or a composition, just to start. I put up something, and then kind of start a dialogue with the canvas. Things evolve through working. It can change from the first idea. I am always open and asking questions. I work intuitively, but always reflecting and changing between this. The canvas can be like a playground, where I put out different elements and opposite movements and somehow try organizing this, searching for a stage or room where it feels set, balanced or at a certain point or edge. Or it just leaves me.

 

I am curious and fascinated by what the colours and strokes can do, how it behaves, and how easy and quick it is to change or damage it all. Sometimes I start by putting up a difficult colour just to make some resistance to work on, or also to crash and open a painting that doesn’t really work. I can never know if it will work. But I have to continue. It is of course wonderful when the work is in a flow; I just paint certainly without thinking. It is important some times to wait and look, and also just work with the uncertainty. It’s always a balance.

If I had promised you a rose garden,

 installation Esplananden, Copenhagen, 2009

 

 

 

 

What are you having the most trouble resolving?

 

 

Stop in time. Or not stop. Some times I work too much. Sometimes I just stop because I am tired of it. It is always the balance. Being warm and cold, close and distant. Going in details and all over. I am seldom satisfied, and this drives me.



Do you experiment with different materials a lot or do you prefer to work within certain parameters?

 

I work primarily with oil paint in my studio, but I also use aquarelle, pencil colours, print and drawings. Everything. It depends on the circumstances or place. I can also make installations with different materials and crocheted objects. The crocheted "plant-like crops" I used in installations alone or together with paintings. I always did crochet, it can be more relaxing, in a way easier to make than a painting, more slow handwork of course. Although painting is like the primary thing for me, it is in a way all the same. I am always taking many photos.

 

 

 

 

Untitled, 2013, oil on canvas, 40 x 40 cm

 

 

 

 

What does the future hold for this work?

 

 

I always hope and try to explore and make better works, more clearly and simple (and complex) I am curious and this makes me continue. I am just planning some interesting group exhibitions with colleagues, and this summer I will go to paint in the mountains in China, in Xu Cun international art residency. I am excited about this. I was there in 2011 and it was very fantastic.
 

Is there anything else you would like to add?

 

 

Thanks for the invitation to this site Valerie and my good friend and colleague Rodney Dickson. It was interesting to do this answering, and to know your site.
Thank you and all the best!



 

 

 

Come Wait, 2013, oil on canvas, 40 x 40cm





NIALL SHEERIN

 

 

Oil on found drift wood, 2013

 

 

 

 

 

What are you working on in your studio right now?

 

Recently I had a nice experience of finding a lovely weather/sea-beaten piece of wood which I felt I could do something with.  After working on it fairly quickly and loosely I was happy with the outcome as an authentic representation of where it was found. So now and again I take scavenging outings along the coastline, looking for other possible materials to paint on. These found materials lend themselves very well to what I am trying to achieve and are very much part of the finished work. I continue to paint on various sizes of canvases and boards having many on the go at once.

 

 

Can you describe your working routine?

 

I don't have a particular routine but I do spend as much time as possible putting down paint and letting it take me in a certain direction, eventually allowing a finished image to win out. I have to work to pay the bills so my days off are dedicated to painting or creating something that works for me. Often at the end of a working day I will spend a brief time doing a little painting, good therapy!

 

Studio



 

Can you describe your studio space and how, if at all, that affects your work?

 
In reality our home is the studio; I have a very understanding and supportive wife. I have assigned a relatively small area for painting and converted a larger attic space for storage of finished work.  All the time I have paintings at various stages of completion scattered around the house. This suits me very well as I love being surrounded by paintings - the last thing I do before going to bed at night and the first thing I do when I go downstairs in the morning is to look at the paintings. I also try to surround myself with paintings of other artists whom I admire. Having the in-progress paintings easily available gives me the freedom to step in and out of my painting quickly, although it does mean that if I want to tackle a larger canvas it takes more preparation and can take some of the spontaneity out of it for me.

Oil on found wood & metals, 2013

Tell me about your process, where things begin, how they evolve etc.


This can be very varied, sometimes a found object will point me in a particular direction. I will sometimes have a reference point and take it from there but I do not get overly concerned if the finished image tends to be more representational or a more abstracted interpretation of the landscape around me. Although I am aware that painting the landscape may be not very fashionable, my finished works are very much rooted in my surroundings and are also about putting down paint to achieve an aesthetic which is true and pleasing to my seeing. At all times I am trying to represent my surroundings and their authentic and unforgiving characteristics. I often listen to music while painting and I am sure this very much contributes to the direction my work takes.

Donegal

 

 

 

 

 

What are you having the most trouble resolving?

 

 

Every time I start a new painting I am a little daunted and not sure how to start or what to do. I have to remind myself to be a bit freer but I certainly don't want to be too casual in my approach as think this would definitely show through. Also I am quite impatient so using oils can be challenging but it does make me wait and live with the painting for a time; this is why I have many paintings on the go at once, all at various drying stages. I do not over-analyse what I have done or what I am going to do next, rather follow my gut instinct.

At the moment I have two large canvases on the go which are giving me a battle but it's a good fight.

 

 

 

 

 

 

The good fight, work in-progress

 

 

 

 

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

 

 

Generally I am sticking with oils for the moment but I do like to paint on a variety of surfaces; anything from perspex, canvas, boards, found wood or anything that will give me a finished look that I am satisfied with. The found objects and surfaces are key components of the finished pieces, they will have been found in the area or landscape that I am trying to represent. For me, painting on different surfaces ensures variety and presents different challenges every time. Currently I am satisfied using oils as they give me the texture and ruggedness I am looking for, and I love the layered effect when applied thickly.

 

 

 

 

 

 

 

Oil on found wood, 2013, 9 x 16cms (irregular)

What does the future hold for this work?


Earlier this year I had a solo exhibition and I would like to continue to develop this work. I am trying to introduce new elements into the work, but not just for the sake of it - it has to be meaningful and true to my place and surroundings. I would love to bring this work to a wider audience in order to learn from feedback. While I do believe in the work, I do not have the best marketing skills, so I hope the work will speak for itself. Further gallery representation would be of huge benefit to my development of the work. Also I am very open to the idea of joint projects with other artists.



Is there anything else you would like to add?


I would like to thank you Valarie for this opportunity to talk about my work. Also I find this blog very beneficial and I really enjoy learning about how other artists work.

Oil on torn canvas attached to found frame, 2013, 18 x 23 cm