Over the past two years, I have moved away from traditional painting and joined the abstract movement using a method best known as the Acrylic Fluid Pouring Technique. I thoroughly enjoy this method and have grown to appreciate the process as being as important, if not more important, as the outcome. My growing love for the unpredictability of fluid pouring has fuelled my perseverance with this method and encouraged me to explore the more contemporary use of paint. Focusing originally on perfecting my pour outcomes and attempting to predict how an outcome could look aesthetically, it soon became apparent that due to the nature of the method and mixtures of paint I am using (paint conditioner and silicone oil), this idea of complete control was not possible when a huge factor of my works is left to the impact of chance throughout the process. 


Alongside research of other artists techniques, I have learnt a significant amount through trial and error when creating my own and believe this has benefited my practice greatly. I have discovered my preferred consistencies of water, silicone oil and acrylic paint, for example when adding water, adding too much causes cracks within the drying surface as the water evaporates, although if I don't put enough into the mixture, therefore, the mixture contains an excessive amount of paint conditioner, the paint is very difficult of manoeuvre across the board or canvas in the process. I prefer to use easily accessible equipment such as plastic cups and water bottles due to needing to trial new ways, therefore, I use plastic and paper cups, old paint containers and used water bottles. Using cups enables me to pre-mix my paint mixtures separately and recently use cups with the bottoms cut off when pouring to place the paint mixtures underneath the existing paint on the boards allowing the paint to bubble up through.


Influences to my practice have proven inspiring when creating as I have trailed proposal making similarly to Bernard Frize's works which helped me to remove myself from the process as much as possible and leave the majority of decision making to chance. Other artists such as Ian Davenport and Alexis Harding have helped me to understand the importance of my process-based practice and how the process continues beyond the hand of the artist. An example of this is seen throughout Harding's work when the paint is allowed to move and slide whilst drying for months after Harding has last touched or manipulated the work himself.