I live and work on the banks of the mighty Thames.
The figure is pared back to its basic building blocks, simplified and abstracted to produce a contemporary evaluation of the figure as a collection of geometric shapes and planes with graphic over-tones and how these react to its architectural surrounding.
This challenging and contemporary outlook on the human condition, stripped bare of the flesh like armour, and its interaction with architectural form, becomes a series of geometric shapes and organic forms.
In breaking the painting down into compartmentalised units of colour, stripped of all extraneous detail, the figure is rendered in pure codified information. It doesn't offer a representation of reality, rather, a universally recognisable idea of it. Perspective is delineated through overlapping layers and scale, while the fresh, graphic simplicity with which such an overwhelming concept is inferred, allows the painting to revel in illusion over representation.
A kaleidoscopic distortion of colour and sophistication of design imbue the composition with functionality. Organic forms and sharp angles smack of high design achieved through deconstructing the original image into abstracted components in a twenty-first century cubism that references an inkling of abstraction while allowing the viewer only fragmented suggestions of a space that seems both mechanical and biotic.