Page 97 - Winter Issue

Can you tell us more about how you blend historical aesthetics with contemporary social reflections?
My approach is to look at the social connections between the past and present and see what can be used visually to
connect them and their consequences/results. There are so many similarities to the pre-medieval world it’s not too
difficult!
Ruins are central to your work, symbolizing both fallen and doomed civilizations. What inspired you to
explore this theme, and how do you decide which historical elements to incorporate into each piece?
I was first struck (visually) by this idea on a trip to the Roman Forum ruins, which, upon reflection, then fit fairly
seamlessly with the political ideas I already held. The historical elements I choose are mostly based on their aesthetic
appeal, and if possible their relevance in their own time.
Your interest in the societal and political changes of history is evident in your work. Are there specific
historical events or eras that most influence your art?
I think the Enlightenment era, what it did away with, and how its ideas were used, and subsequently forgotten, have
been influential. In short, it's the idea of reasoning and progressive attitudes over reactionary ones.
How do you think historical perspectives, like those from the 18th and 19th centuries, can provide
insights into our current social or political climate?
“Those who forget history are doomed to repeat it”. I heard this at an early age and didn’t pay much attention to it until I
saw the patterns repeating myself. If you are familiar with the events of those eras, what caused them, and how awful
the outcomes were, you can gauge what might come next in our time, and why.
Working in oils, how do you approach capturing the textures and ambiance of historical scenes? Do
specific techniques or materials help evoke a sense of the past in your paintings?
I very much use techniques and approaches from those eras. Especially a limited palette, very close to that of a Zorn
palette, which helps me get great earthy hues. I also look at a lot of paintings from those times for guidance on how to
paint clouds, brickwork, etc.
How has your experience in editorial illustration influenced your fine art practice, particularly in terms of
composition and storytelling?
My illustration practice has had a huge impact on my painting work. It’s almost built-in that a painting should have a
narrative in some form. The difference is when I’m illustrating, I normally have to visualize someone else’s narrative, but
with fine art, I get to illustrate my own!

Capriccio VII - Oil on panel, 35x75cm, 2024

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