And not in a patronising way. Sometimes, I don’t even know how to do it myself. I find it intriguing that my works come out the way they do, so bright, so happy, sometimes playful.  It’s what I seek most in this life - naturally though, I am not always that way inclined. More of a deep thinker, a brooder, likely similar to many artists. 

 HOW TO HAVE A GOOD TIME feels like a journey of becoming more comfortable with authentic expression. I’m no longer interested in portraying certain ideas or themes. Like all of my works, upon reflection they present as a certain yearning. Though when painting them I am not even conscious of. All of the sudden, whether it be days or weeks later there’s a large scale, colour-filled canvas sitting in front of me. Often times, I have not much memory on how I got there in the first place.

 Until this point, I’ve always found that my works are best made in moments of still, moments where I could think clearly and there was space to feel creative. Interestingly HOW TO HAVE A GOOD TIME came to be at a pretty fully brimmed, challenging period. Many things happening, many good, a few not so good. Full, definitely. Certainly colourful. The studio days became long, and the works piled high (and large). I think these works are a truly authentic representation of self. A letting go of outside noise – expressionism that simply needed to come out whether I had time or not.

 As the years go on, this practice is becoming more and more mine. I think, what has come out in these works is a pretty honest representation of a state of mind I seek, an attitude I continuously remind myself to practice. Light-hearted, easy-going, playful.  These works are a true representation of how I can practice these things.