...I might end up more with sculptures rather than paintings. (DD) recognised that the artists that mean most to me work through an environmental or community theme.
... I needed to break through a haze of eclecticism if I was to move towards making art that was more clearly understood in a wider cultural context.


... I hoped to describe how the different aspects of my work are linked through some motifs that I regard as being universal.
... saw references to ritual, myths and folklore in the etchings and monoprints. ...references to urban graffiti.
... moving the popular aesthetic away from commodified culture.
... there was a danger that the work would seem confused and disjointed.
... suggested reading material: “The Re-enchantment of Art', Suzi Gablik, & the writings of Robert Smithson


...what works and what doesn't, such as the relationships of colours and texture, how paint is applied to what ground, and respect for the subject.
...how the work would be viewed in a contemporary art-school context, ...why it seems to send out a confusing message, particularly so because of my efforts to eschew some aspects of post-modernism.
...I sensed that the rawness and the elemental qualities of subjects and materials are fundamental to my work. It seems that I'm trying to create a body of work that signifies the natural environment (geological and climatic forces, cycles of growth, decay and regeneration) and how it has been overlaid by cultural environments. This accorded with earlier remarks by CD about
... the influence of Hodgkins' book ‘The Making of the English Landscape', and about my work following similar concerns as Constable and other British landscape painters (although I stick to my assertion that I am not primarily concerned with landscape).

...short samples from my weekly log, updated occasionally