I'm interested in the fact that the body is the conduit not only for what and how you feel when out in a landscape but also for the way in which the paint is applied to a surface. When painting at a large scale the whole body needs to move to create the marks on the canvas. As you move around the surface of the painting making marks, there's a sense that you're inhabiting it.

In order to keep a feeling for the composition as a whole, it's also necessary to keep stepping backwards and sideways to create a distance from the work in order to see it properly, meaning that the space of the studio is occupied in a very different way.

The surfaces of these paintings are developed by working very freely at the outset to build up layers of paint which then create a base from which to build, excavate and develop a composition.

Some of these paintings were begun with a specific landscape in mind which then informed both their palette and their composition. In other examples, the landscape idea emerged through the painting process and relates to either an imagined or an actual experience of a particular landscape.