General Overview of Masters final Work

Major non-show work


The Making of the Regarding Richard Long:

Despite my reservations about the ethics of the Richard Long pieces, the visual impact of these massive discs of slate cannot be underestimated. The day we spent together at Houghton Hall was very pleasant and triggered plenty of interesting dialogue between our group of lecturers and students. The character and personalities of our group all had an impact upon the day. The painting: "Regarding Richard Long" is to be a record of the day, and the interaction between our group, each other, our thoughts and the works themselves. I have been developing ideas about "thought" lines, or lines of meaning and attention. These lines ( usually thinly masked out areas of a drawing or painting) are used to draw attention to a layer of meaning, or to signify human attention or thought within the motif. The painting will have members of out group looking at the the Richard Long sculpture, "Sky Moon" with thought and attention lines signifying their attention at that moment. The sky, magnificent, disinterested and unaffected by our trivial thoughts gazes down in the same manner it has since time immemorial.

  Regarding Richard Long, unfinished O il and dutch metal, Jennifer Sendall

Regarding Richard Long, unfinished Oil and dutch metal, Jennifer Sendall



The Making of the Water Vortex: 

The Concept. Following on from my themes of portals and view, and building upon my earlier work in cinemagraphs and my own concept paint-o-graphs. I had already looked at skies, the air, now I wanted to look at the notions of the other elements, water fire and earth. The dish was painted with reference to plein air work, where I observed the colours and movement of the sea. the work I most closely referenced was this portion of a painting I had done in Wales the year before.

The projections are a collaboration with  Frédéric Vayssouze-Faure, whose website is The final live projection is in fact a different one.



Fire was the next element I wanted to work with. Taking a similar dish I again constructed an imaginary scene, yet one that drew deeply from my previous experience of cloud painting. I have never looked into a vortex of fire, but I have learned how clouds form and reflect light, and how colour changes as it recedes from it's source. I am, through my plein air, observational experience, been able to interpolate the scene. Unlike the collaboration with Frédéric, I commissioned the embers to my specification and had them built in Houdini particle generator.



The Making of the Banker:

The Banker is Amy, who works in wealth management in the city. I chose the rather stark vampiric pose and simplicity, with a modern window cleanly cut from the background. i enjoyed using the cement texture and negative shapes to help form the drawing, which is in charcoal and chalk. I actually prefer the earlier version, and even like the masking tape on the surface.

Following are other pieces, experiments and trails with the image making of clouds and masks.