My abstract period was initially a liberation of the mind which all too quickly became overly light and easy. I found I could paint four or five canvases a day, with my only difficulty locating sufficient flat space to allow time for them to dry.
I switched to quicker-drying acrylics but the artistic process was still too simple, too effortless; I was missing the discipline, dexterity and difficulty involved in producing my figurative works.
The transparent period was born from my investigation of how to restore to my painting the degree of artistic expertise, complexity, involvement and challenge I remembered from those earlier figurative works, while retaining abstract fluidity and freedom. Instead of relying on thick, heavy layers, I chose to borrow from the 18th century an age-old technique of transparent glazes. Judicious juxtaposition of coat after coat of oil glazes, patiently applied, each atop another, allowed me to bring a magical sense of depth, intricately subtle luminescence and an agreeable elusive mystery to my works.This transparent period has become a favourite of mine, one I shall revisit after my snows.