When I create art, I occasionally find myself drawn into a narrative about the subject, akin to the imagined personas that pop into my mind when I glimpse an enigmatic person through a car window or seated at a nearby table in a café. While making a drawing or painting, these storylines can not only influence the direction of my subsequent efforts, but also invite the viewer to engage in a similar exercise. For me, this process transforms a painting or drawing into a shared experience, where storytelling is the domain of both author and the audience.

The aspect I value most about this process is the way it injects spontaneity into my workflow. As the image develops, it often feels as though the artwork itself is taking on a persona, guiding me as much or more than I am guiding it. In this way, creating art becomes a partnership, a back-and-forth between myself and the art as we argue, agree, and eventually reach a consensus.

The narratives these kinds of pieces engender rarely emerge fully formed. Instead, they unfold as I work, with the evolving image suggesting new directions and ideas, following the plot as it unfurls rather than directing the action. In some cases, a single piece even grows into a series of two or three images, each expanding the narrative and offering fresh perspectives. However, I take care not to make the plot too explicit, as doing so would rob the viewer of the opportunity to engage their imagination and craft their own story. The interplay between artist and audience is one of the most compelling aspects of this approach.

In a piece titled “Man With Suitcase,” a small, solitary figure strides past a shuttered storefront with quiet determination. Bright colors and sunlight contrast with the state of the subject’s clothing and the deteriorating, graffiti-covered facades that serve as the backdrop of the scene.

As the piece developed, I told myself a tale about who this was, where they were going, and what was happening in the bar next door to the bright green metal shutter. I even imagined the sounds in the street and the feel of the air as clear skies and bright sunshine displaced a morning rain shower.

Another example is a piece  based on a snapshot of a woman in a London cab. Initially rendered in watercolor, the image felt too photographic and tethered to the snapshot. I felt that the image was calling for a more ethereal quality, so I painted over the watercolor, softening the figure and her surroundings until the image resembled a hazy memory. 

As a result, the woman’s features became more ambiguous, and she appeared as if she were daydreaming, she also appeared younger – more ingenuous. Inspired by this transformation, I created two additional versions, each more abstract than the last as I layered textures and veils of color over her face, allowing the composition to become even more wraithlike.

In the end, this series of images invites viewers to reflect on who this woman might be and what she’s experiencing. By obscuring the details, I commit to a relationship with the viewer, inviting them to fill in the gaps in their own way.

This collaboration with the art removes some of the creative burden, turning the process into a dynamic journey of discovery. The prospect of sparking a moment of creativity in the mind of the viewer is both a motivation and a delight for me. Knowing that a piece may resonate differently with each person, evoking unique stories and emotions, makes the effort deeply rewarding.Ultimately, my goal is not just to create images but to craft experiences—visual prompts that invite viewers to explore their imaginations and connect with the work in personal, meaningful ways. Whether it’s a watchman on a catwalk or a daydreaming woman in a London cab, each piece holds the potential for infinite interpretations, making the process of creating—and viewing—art an endless source of fascination and joy.