My paintings speak for themselves. No interpreter needed. Sometimes in riddles. Often ambiguous. Puzzling. Even contrarian. Playful yet serious. Thoughtful yet spontaneous. Softly spoken but painstakingly articulated. A musical analogue, perhaps, is jazz with its frisson from periodic thwarted expectations that surprise yet captivate, especially improvised jazz. It’s not coincidental that Bill Evans, Chick Corea and John Coltrane epitomise this frisson for me. Optical illusions have a similar effect, both enigmatic and compelling. The series title ‘Contrarian Perspectives’ alludes to the ambiguous geometries I sometimes employ - trapezoids and ellipses strike curious poses. Metallic paints like gold and silver become illuminated with reflected light as the viewpoint changes, transforming the image. And variable orientation means the panels can be hung by any of the four sides - four different compositions if you like - because there is no strict top, bottom, or side. Without a reference point (like an horizon) orientation can be more arbitrary. A change is as good as a rest, it is said. The diptychs and triptychs offer extra permutations.