Brentor Church in the snow.
I spent my youth growing up in Devon and Cornwall, waiting for something to happen. Its charm and beauty never in doubt, but, as a young punk rocker, it all seemed so plastic and out of touch. 
Some years on as an old punk rocker it still feels like a trip to toy town whenever I visit, the fact that you look down on most of the towns and villages due to being in valleys, approached from surrounding hills. Having to drive down a road that twists and turns until the little houses and life within come into view.
On reaching ground level, nothing is straight or true, like a model village put together with a moderate amount of care and limited attention. A patchwork of ideas and designs being forced together in a quaint harmony of textures and colours, to then find brightly coloured burger bars and ice cream parlours selling inflatable pink flamingos on every street corner.
These landscapes are created from memory, having that plastic quality in mind but still respecting the ideas and techniques of such artists like Cezanne.
Much in the way that Cezanne's painting dealt above all with the sensations of space, the ambiguity in particular of our perceptual experience of distance in the way, for example, La Montagne Ste Victoire seems at the same time both very far away and so near that it is almost touchable. Starting with observational drawings that are then ignored as work goes into the studio, I'm inclined to react and create by instinct rather than work to any set theory. Blocks of solid colour form the basic structure of any composition, with embedded plastic toys/objects set into the thick acrylic paint as compositional devices. These often give a sense of scale and a touchable reality that play with ideas of figurative representation. The canvas is open to abuse, cut, re-constructed and re-worked in a number of ways in an attempt to question those traditional values of painting and creating a visual structure.