I typically do a series of studies before undertaking an artwork, because my works can be very large and some of the stamps are relatively rare. This allows me to experiment with composition, scale and colour palette quickly and without wasting valuable stamps or precious time.
The studies tend to be quick and dirty: they can be simple coloured pencil sketches, or; if they involve stamps, they are often placed with significantly less precision that in my finished works. Sometimes I even rip or cut the stamps during these experiments.
These studies are prototypes and definitely not intended to be framed and hung on a wall, but some of them still look quite interesting.
I tend to keep all of my studies, as I never know when I might revisit an old idea or merge two concepts into one. This was certainly the case when I made Blackstar, which combined a 5 pointed star with “black on black”, both of which were earlier experiments.
Once I am confident that a piece has a good chance of being successful, I will begin the more time-consuming process of making a full scale work. The preparation required prior to sticking the first stamp can be quite significant.
I need to work out how a piece will split across multiple mounting boards and mark up each board so the stamps will meet the edges in exactly the right places. Each and every stamp must be placed with precision to ensure that there are no gaps or misalignments when the mounting boards are brought together as a single complete entity.
For each piece a straightforward concept is executed with meticulous precision. The decision to work at a particular scale with a certain colour palette, in context with the subject matter, creates a unique and fascinating experience for me during the process of making.
The careful placement of stamps in a strict geometric grid gives each piece a digital quality; each stamp is similar to looking at a pixel close up. At an exhibition, the viewer sees each stamp with its subtle variation in colour and postmark, which suggest individual stories. Yet when viewed from a distance, the works have an organic feel similar to an impressionist painting.
I like to work at small and large scales. The smaller works play with the ability of the eye and brain to interpret limited information and see what is not really there; in effect the brain tricks the eye into filling in the detail. The largest works are more detailed and become almost photographic.
Because the image is best viewed from a distance, I don’t really see the piece until it is complete. My largest work to date (Kurt Cobain) measures 252 x 476cm and was completed in a small flat in a room significantly smaller than the finished work. There is a depth to the work that is intriguing for both me as the artist and for the viewer, triggering repeated views from a variety of perspectives.
The stamps are manufactured by a printing process that has slight variations and then each stamp has a journey through the postal service which can cause wear and tear. Some of the stamps are quite old, even pre-decimal.
The variations in colour and shade, along with differences in postmarks, make each stamp unique. I use these individual variations to ‘paint’ each work, often changing individual stamps to make subtle improvements to the overall image. The precision, attention to detail and creative decision making allow me to experiment whilst controlling the creative process.
