The return to painting in the last few years is an attempt to coalesce a vison of the world, through which influence of various media affects our comprehension.

The paintings started with pouring liquified pigment, sourcing earth photgraphs to find impressions of natural processes. It was also a way of fracturing reality to understand space.
Then tonal play was incorporated with more isolated natural elements to further examine spatial reality.
The paintings then came up to the surface with examinations of literal abstraction, outlines of tracks bouncing activity off the canvas. This disallowed a pictorial space, making reality merge with an offset pictorial reality.
Then fragments of outlines of the body were traced to produce representations of physical presence, again without pictorial space.
My early works were studies in pictorial space, the conflict between flat surface and illusory space.

The photographic work concerns place and its part in our personal and collective memory. How to convey the essence of place, the history of events in locations.


The photomanipulations examine our experience of our environment and landscape. Moving the techniques from the photographs on, they make constructs that have a residue of reality. They alter the perspective by isolating and repeating component areas. Underlying patterns that run through locations are investigated. Mirror imaging is a way to open up the space of an image, to give it possibility of differing realities.

Born 1959. Lives and works in South England.
Studied at Chelsea School of Art 1990-94 and Byam Shaw School of Art 1988-90.
Latest exhibitions:
2008 Group Show, The Brick Lane Gallery, Whitechapel, London.
2009 Group Show, Candid Arts, Angel, London.

Primarily the works examine space, our experience of it and how we inhabit it.

The assignation of 'various sizes' to the digital prints and photographs means they can be reproduced in different scales, but minimum height should be about 50cms.

Richard Alexander Gray