I learned to look at pictures as a way of seeing, “Seeing” might be stretched to the full power of that word by unfolding into sight the integrity and presence of some objects.
My still lifes are by and large produced from the minds eye with some photographic and/or real references. I hope they are evocative, rather than descriptive of simple yet familiar subjects such as bottles, jars, jugs, glass, coffee pot, vase etc. I try to give a visual and emotional experience to the viewer.
The flat surface is not conceived as the sole essence of the picture. The limited context minimises references to the how and why. It is the visibility of things that count, especially in the eye of the beholder.
It is in painting that the mystery of visible existence is realised. As a painter I gather together the depth of familiar items and try to rake in some spatial depth and hope to reveal their unconcealed grounding on the flat canvas.
Traditionally, some of the objects in a still life were likely to have selected for their symbolic meaning, but this symbolism eludes most modern-day visitors, and even some modern painters such as myself.
As far as I am concerned a still life painting should, even if the colours are sombre like grey, black and white, only give emotional and visual stimulus and pleasure –it has to be a work one wants to own.