John is a visual artist living in Brooklyn, New York. Born and raised in England, he developed an

early love for drawing and painting. As a student of Graphic Arts at the University of Brighton

School of Art and trained as a photographer, he moved to the United States to work as a studio still

life specialist. 

His fine art practice reemerged in the millennium and has served as his central focus. Printmaking

at the Art Students League of New York enabled John to produce an experimental body of work.

Lithography and silkscreen prints compliment his painting. 

With an interest in movement and color, his artwork is recognized for its vibrancy and abstraction.

Through the study of landscapes and the human form, he creates a world of energy in motion.

 John has written.

All art making is an act of imagination.

The visual artist uses the power of light.

Conjuring the world that is, or the world that could be.

Showing the world how they see it, or how it might be.

I make marks on flat rectangular surfaces. 

A picture emerges, the merits of which depend on the degree of imagination deployed. 

It cannot be faked or fudged. It cannot be copied or forced.

This journey is both rewarding and honest.

I like to discover colors, by using them in unfamiliar ways. Trees of blue or a sky of green. 

This may seem silly, or childish. Perhaps naive or even absurd.

For me though, it effectively challenges orthodoxy and facilitates imagination.

The practice clears away preconception and proposes a different reality.

The trick however, is to make sense of these new associations. 

Whilst chance can sometimes produce unforeseen miracles, it is an unreliable working method.

If that tree is blue, what color is the grass? A new harmony has to be found.

A new logic that is convincing enough to achieve a suspension of disbelief.

This approach to picture making produces an abstraction.        

There may be elements left that are recognizable to some extent

But these merely provide structural foundation and reference points.

What is revealed is a previously hidden reality.

I explore color relationships for their power to create mood.

But colors also have the ability to move within the picture.

Both across the picture plane and also in three dimensional depth. 

These forces only become active when colors work together.

The boundary between two colors creates a line.

Lines define the edges of things, and forms become manifest.  

Lines move the eye around and animate a picture.

Colors carry feeling and volume.

With all that said, the governing characteristic of color is its mutability. 

We all see colors differently, and societies attach various meanings to them.

All artists are culturally conditioned and subject to personal preferences.

Paintings viewed in daylight do not look like paintings viewed indoors..

I choose to contextualise color in the human form or in landscape.

The advantage being that both these subjects are central to our visual experiences.

They are primary knowledge and hard wired into us.

As such, we possess an innate ability to accept and understand interpretations and variations.

Both subject matters are visually interconnected and interdependent.

They share related forms and expressive possibilities. 

On an organic level they are the same thing.

Manifestations of life on earth.

The fate of landscape is determined by human activity. 

The fate of humans is determined by landscape.

This reciprocity is the narrative underpinning of my art.

The path taken may be familiar.  But the telling leads to a new place.

The marks I make are loaded with possibilities.

It is my job to use their power with integrity and intention.

At the end of the day my sensibility and imagination is clearly visible

To where it transports, is my responsibility.