Using just raw unprimed, unstretched canvases and titanium white oil paint the image is created by contrasting the smooth crisp paint, the canvas colour and texture. Together they create a soft, delicate image that has a dreamlike, ethereal quality. Keeping the painted canvases unstretched and mounting them so you can see the raw edges gives them a sense of historical documentation, or parchments, as if the viewer is getting a glimpse into the past.
In many ways they are seeing a moment captured in the past, the images are of urban landscapes that are constantly changing through construction, regeneration, improvement and in many cases over-development. They reference the history of the scene and are a snapshot of the moment when the painting was captured. Some have already changed in the few months between starting the painting and today, others are static and have remained unchanged for a number of years.
The mount for the raw canvas is painted in a colour that evokes the memory of the location for me. For example, the Battersea power station painting is mounted onto a dark Victorian brick red and many of the city workers which passed me while I was working on Canary Wharf sketches wore navy blue suits so the mount for that is navy blue. The amount of colour showing is small to just give a hint of the memory.
When painting these I start, wherever possible, with initial location sketches, photographs from the place and then develop the painting in the studio.