I define my practice by two simple aims: That it be an avenue of creativity and expression, not hindered by external concerns, and that it provide a tangible material benefit to society.
I have pursued creative endeavours since childhood, steering my formal education always in this direction. Upon completion of my studies in 2003 I began a committed art practice which I have maintained alongside a day job for over twenty years. However, the truth of its importance only became clear in the autumn of 2016. By this point the demands of my job as an employee in the commercial art industry had become unreasonable and unsustainably relentless, and ultimately my physical and mental resources were drained beyond the point that I could withstand. The outcome was personally catastrophic but in the aftermath, as I worked to rebuild, I came to understand that maintaining my practice was essential to any hopes I had of living a contented life. From that point I resolved to prioritise its continuity. My commitment has proven successful so far, but has required significant adjustment along the way.
In 2019 I was fortunate to be offered representation by three commercial galleries; in London, Barcelona and New York. It was nothing less than a lifelong dream come true, and an opportunity bestowed upon very few artists indeed. However, within a year it had become disappointingly clear that commercial concerns and the agendas of others had only served to restrict my creative freedom, apply financial pressure to my practice and severely diminish my ability to derive joy from making. The sustaining pleasure had been eroded to such a degree that to stay the course would directly contradict my most fundamental, indeed essential, aims. This being case, I made the firm decision to leave all three galleries and instead return to a fully independent practice, free from the corrosive influence of commerce. I am well aware that by doing so I turned away from the path an artist may traditionally be encouraged to travel in the pursuit of success, and discarded my best chance of earning a living by making art. Nevertheless, I am convinced it was the right thing to do.
The outcome has been a renewed freedom, defined as the ability to make whatever I like, whenever I like, without any obligation or external pressure to rigidly maintain style or content, or to adhere to the timescales or requirements of others. My practice is unburdened from the insidious allure of money and the associated demands commonly placed upon artists working within the establishment. Making this change has opened up all sorts of possibilities that I truly believe I would not have felt able to explore otherwise and it is a great relief to know that my work serves my creative needs unhindered.
I understand that such an indulgence is not a luxury with which most are blessed. That I am able to earn what I need from my day job and still have a little time and resources to dedicate to my practice, without it needing to earn its own keep, is a rare privilege indeed. I do not take this for granted, nor do I believe I have any right to demand more of my work than the happiness it brings me, least of all an income.
But what, then, am I to do with the works I make? The answer is not so revolutionary - I still sell them, but rather than keep the proceeds for myself, I donate them all to charities and good causes through my project Painting Pro Bono. Given the emotional benefit and privilege I enjoy, and the potential for my work to generate some revenue, doing so is no less than an obligation, as far as I’m concerned.
It has taken me some time to reach this point and define what I do in these concise terms, but now that I'm here I can assert that it is the most rewarding state I have yet achieved. To have cemented into place the parallel guides of creative independence and quantifiable social contribution is more satisfying than I could possibly have anticipated and I have no doubt that they will continue to direct my practice for years to come.