My paintings are created using the old masters indirect painting method with the use of multiple transparent glazes. A technique that is not used much today.

My work explores a range of themes, yet they are unified by a single pursuit: the depiction of light. I am continually drawn to the dialogue between shadow and illumination, and to the centuries-old painting techniques that have sought to give paint both light and life.

Since the age of twenty-one, when I studied under the old master Patrick Betaudier at his Atelier Néo-Médici in France and learned the ancient techniques developed by the likes of Van Eyck, Vermeer, and Velázquez, I have been captivated by the balance of rigour and poetry that true technique demands.

I work primarily with the indirect method, layering translucent colour glazes over a detailed and modelled underpainting to achieve a depth and luminosity of colour unattainable by other means. This process lends itself to the subtle textures and materials that define my still lifes, nudes, figurative compositions, turbans, telephones, and hands.

By contrast, the direct or alla prima technique—painting wet-on-wet without glazes—offers a vitality and immediacy perfectly suited to my yacht and automobile series, where movement, speed, and atmosphere take precedence over quiet contemplation.