In particular, I have tried to exploit the painterly side. Is that because you are happy with the results you get from the iPad on their own and you feel there’s no reason to? But I haven’t successfully utilised that side of it. I haven’t really exploited that transition yet, but I’ve done hundreds and hundreds of drawings and there are some I think would translate really well into paintings. The intention was to make painterly responses to wherever I was whether it was from the landscape or the figure, and then I thought maybe I could use that as the basis for oil painting. To use colour, to basically have a whole studio at my fingertips. I thought ‘I’ll give it a go’ and I bought an iPad, downloaded the ‘Brushes’ app and lo and behold I had the facility there at my fingertips. I had seen David Hockney’s “Arrival of Spring” series at the RA and I quite liked the marks he was making and I liked the scale he had been printing these at. Which is what I had worked myself away from.

There are certain ways of working working with wax resist, working with materials that are more immediate, working more quickly on-site, working at a slightly smaller scale and I thought I need something to somehow create paintings more quickly on-site so I returned to the more mobile, rapid way of working. I didn’t like the way they were turning out and I thought what could I do, how can I get around this? How can I loosen it all up? I looked back over some previous work from 20 years before and I quite liked the way I’d been approaching that work. The wonderful view and light in Julian’s studioĬan you tell us a little bit about your background and how you came to specialise in your programme?Ībout 8 or 9 years ago I decided the paintings I was doing were a little bit tight.

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