In 2007 I made a decision to leave my job and become a professional artist which culminated in a move to North Norfolk due to various personal and family reasons - it was a big contrast from Snowdonia ! - and one which required me to re-adjust my thinking and technique which I had developed in North Wales
No longer did I have the harsh, hard mountain and rock landscape but a much softer open landscape which could not have been more of a contrast. Not only did I have a change of landscape but also a change of material - as my studio was now within our new property and resins could no longer be used. I experimented with acrylic pastes and gels and found that I could achieve a look not dissimilar to the style I had developed with the resin. Indeed they turned out to be more appropriate for the softer landscape I was now going to interpret, with the added advantage that there was a large range of different textures and viscosity to try out too. Also, where the water element of the resin was always dark the gels can be used straight from the pot ie totally clear and ' water like ' or tinted right down to a dark colour if required. I did still use block as my ground and thin ply layers but they too soon went the same way as the resin. A commission for 3 paintings from Australia ended that era as they were way too heavy to send, instead of which I turned to deep box canvas which still did not require a frame [ and were still accepted by the client ] The resulting way of working now had a much softer look which complimented the ' new ' landscape. Norfolk is known for its ' big skies ' but I am still more interested in the ' floorscape ' and their varying textures, as I was in Wales. This was not a conscious decision but it does make my work stand out from many artists who do paint the ' big skies ' and the traditional perspective down the beach. As my main focus is on the ' floorscape ' perspective often gets paired down, relying on graduated texture and of late the view starts to blend into an aerial type view. Indeed some of the skies are only there as a reference point for viewers to latch onto, although many see the thin band at the top as a continuation of sea and not sky at all. This gives me pleasure as I want the viewer to place their own interpretation onto my work. That's not to say I don't do the occasional big sky ! My style is constantly evolving and is becoming more abstracted with each year. Colour too is being either paired down or saturated in many cases. With such a varied area for ' floorscapes ' in various forms such as beach, estuary, saltings which all change daily with the tide and weather there is still much to interpret.