Your compositions are notable for their careful rhythm and spatial balance. To what extent is this sense of structure intuitive, and how much emerges through planning or revision?
I'm moved to make paintings from images that I find have an interesting composition. Sometimes that means I know I will be making a painting before I snap a photo, but more often than not, I just find a good photo in the hundreds of photos I take all the time.
We live in a time of excessive visual noise, and your focus on domestic and familiar spaces feels quietly subversive. What compels you to continue foregrounding the everyday in your work?
Well, I do enjoy slowing down to look and really examine a place, a thing, and the way they all connect. That said, I also really love a busy painting with plenty of visual fodder for the eye to take in. I usually try to get the viewer's eyes to move around either by lines that connect or colours that triangulate over the composition.
I think that choosing to be a painter today in general is an act of subversion, because you're asking a viewer to look at something for more than 3 seconds. There's little guarantee that anyone will enjoy what the artist produces, but the drive is there regardless.
