Work started on these oils in 2011. Until 2016 I had thought of these as accumulation paintings. These are crudely cropped off-cuts: slices of board that have sat around my studio (and studio outhouse) which I've added to gradually, mostly in-between projects, and often as a form of release.
Whilst working towards my Venice-themed 2017 Scottish Gallery show, I began to refine the subject of these works. Until last year they had purely been heavily layered and totally abstract experiments. But the most recent layers — those that have brought these works to completion — pick out detail and movement and have become images reminiscent of water surface. The addition of ochres and flesh-tones intend to disrupt the calm of these works: to help them achieve their goal as abstracted visions of polluted Venetian canal and lagoon surface.