I find that I have to use sources that naturally change rather than relying on a cause which is solely derived from man made purposes. I discovered that by allowing the paint to dry slowly and at different rates that I have to think and work a lot quicker. It is remarkably intense to use this process. It seems that nature itself has its own deadlines. I wouldn't be able to complete a project successfully if I didn't have trust or faith in these practises. Linseed oil mixed with the paint on a sized linen or cotton canvas is sufficient, rather than using other unnecessary gimmicky materials. These are traditional methods where science and craft become one.   

There are four causes. Painting as a natural science falls into these categories. As an Artist I have to consider each one carefully. The purpose of any activity, is to be fully engrossed in its form and to be excited about the source of change because, form, source of change and purpose, equate to the same thing, (Efficient Cause.) If it is a system that requires the control of accidents however, its legitimacy needs to be realised in some form or another. This is why I produce paintings and painting could be the reason why I attempt to apply this principle to other experiences. I have always been curious about whether it is effective in everyday life as well.

The outcome of this random experiment was an idea based on how light alters surfaces and this became my focas. There is however only a small series of paintings that work so far. It can also be applied to other subjects, seascapes, the human figure and portraits. It recently occurred to me that the subject of light could be the dominant theme, linking several creative practices together, such as music, spoken and written word.

The Drawings(Oil Sketches)

I started by studying a grid of up to several parts. The first was as follows, (note, once all parts have reached a conclusion, 2 ideas that simultaneously work are formed, both of which can link to other less related activities.) First I placed four points on a page, which were then repeated adjacently in all directions to make 4 squares, then I drew a symbol, designed to incorporate a grid, (crucifix is one example.) On the third, the symbol was repeated a number of times, producing patterns that can be reformed into alternate structures. These 3 points were carried over to a 4th, where I started working from observation of structures that are geometric, like fields or pylons. I could then recognise parallel lines of symmetry and apply them to other subjects, which are not directly related to geometry. At this point my drawing started to go in a completely different direction.