Statement
My graphic images are based on a personal exploration between painting a two-dimensional image on a flat surface, and a cosmological hypothesis. This theory entails that space is required for any outline to exist—a duality—rather than a singularity; which is the current consensus in cosmology.

Since my youth, I have been fascinated by the tactile sensation of painting—the rhythmic movements of a loaded brush of colour across a spatial ground of a white surface etc—the only difference today, is that my work is graphic rather than representational. I am a perfectionist at heart, never truly happy with my last artwork: this keeps me creating ‘one-off’ images until I have found the perfect picture.

Before putting pigment to canvas, I first need to know what image I am going to paint. I work out the ‘idea’ with small-scale sketches in graphite, then prepare an acrylic study once I have made a decision on the content. Using colour swatches and intuition to determine suitable colours, I then transfer the design to the full-size canvas.

In my current work, I use white pigment as space to enhance colour, this results in a vivid picture. To instil a sense of movement, I use acrylic flow paints to create another dimension. This allows the pigment to run down the canvas to give the impression of immediacy: the graphic image is both aesthetic and subjective.

You must be yourself for your art to be true.

Mark Gordon Newbury Richards (MaGNeR)

Two Seated Figures (1983)
Two Seated Figures (1983)
Houses and Gardens (1994)
Houses and Gardens (1994)
Two Fishes (1994)
Two Fishes (1994)
The Blue Window (1994)
The Blue Window (1994)