What I love about painting is that it embodies a series of thoughts, feelings and processes. It’s all there on the canvas as a record. I can put something on the canvas, consider it, adjust it, remove it, replace it, add to it, reveal it, destroy it and repair it. I can be in a good mood, a bad mood or a destructive mood; it’s all useful to my work. I tend to improvise what I do on the canvas. I have a sense or a vague roadmap in mind, but usually I react to what happens during the making of a painting. This is what determines when a painting is finished for me. I have no ultimate plan with the materials I am going to use. I want to be surprised. I would get very bored if I followed a procedure. I don’t limit myself where materials are concerned and find it exciting and challenging to incorporate materials as I find them provided they are fit for purpose and appropriate. For example: Some of my pieces contain bits of metal found on the beach and others contain material found in the garden or the park. Basically whatever is to hand to enable representation, I will consider it. My intention usually is to experiment beyond existing practices or habits. When I originally moved from ceramics to painting, my early attempts tended to be impressionist in appearance. Now in relation to objects or materials I feel free to concentrate on the abstract quality rather than the original function or meaning. Where I am now with my work is a place that is difficult to react to immediately. For me it's quite a special place. The deeper I fall into it, the more there is to find, and I think this is one of the wonderful things about the seasons.