I would describe my work as often containing great strengths of line, as bold and unwavering almost brutal; barbaric movements found in the stressed painted surface.
Fey wisps, tendrils almost translucence and gleaming, sometimes gossamer threads are woven into the fabric of my paintings, and can feature strongly highlighting the areas where I use acrylic and liquid latex washes.
Uncompromising and barbarous leaden landscapes vie for place with shards of brilliant colour, a hope in desolation, and a birth from seclusion. Moth eaten gold flakes peeled away to reveal a volcanic tirade from dark cold archer, to virulent molten oranges; they burn the eye if stared at too long.
I have been living in South Korea for nearly two years and find myself greatly influenced by the Buddhist culture. Living here allows me to be continually taken on a journey to the Iliad’s of my mind and this is shown in my creations though my complexity of colour and texture, reflective of my feelings at present time.
For me, I find that some of my work brings a real sense of calm. The eye drifts languorously around the whole, while natural seeking a focal, thwarted again and again by the elusiveness of the brushstroke and mark making. While in others there is a layer upon layer of chaos, turning acutely into unease and fear, allowing one to walk away feeling unsettled and thought provoked.
I have documented through photographs and artefacts, a recent trip to Singapore and Malaysia. I will be producing a new collection that will document my experience of this spiritual journey.
“My current paintings are based on the philosophy of Yin and Yang – the duality of life and the attraction of opposites. I believe that everything has another side, visible or not, and for me drawing is thinking and painting is peeling. Therefore I draw what I think and paint what I feel. As there is no feeling without thinking, there is also no painting without drawing. There are times when I feel more comfortable calling my works painting drawings rather than just paintings.”
“Painting is my key to the secret garden, my way down the rabbit hole, my looking glass.”
Keith’s paintings can be like landscapes, viewed from a great height. Areas of colour and texture are arranged like expanses of scenery, full of tone and character. Colours wash across plane, enlivened with areas of complex detail. But the painting can also be viewed as cityscapes, full of tonal depth, and areas of intricate detail to involve the viewer, drawing them into the imagined space.
These paintings can be understood as purely abstract compositions, showing great understanding of proportion, conceptual textiles as abstract art.
Lord Harry Cardross – architectural are glass designer / London, England
My wife and I carry out substantial refurbishments and building works to our home, in my professional capacity I and a principle of a construction and joinery company specialising in restaurants, and therefore exposure to design and aesthetics including artwork is regular and of inserts professionally and personally.
However this experience does not allow you to transfer your inner wishes to canvas or other art forms, unless you have the appropriate skills, and vision.
We were introduced to Keith via the Saatchi and Saatchi website, who took time to allow our wishes to develop and enable him to come to a stunning interpretation, realised on two excessively large canvasses. They are unique to Keith’s style and us alike, and form the core of successful commissioned art, and are a daily pleasure in our home.
Simon French / East Sussex, England
The picture that I have of Keith’s work has been in my possession since 2003. It has made my home a focal point, while enhancing my electric style of furnishings. Whenever I pause to re-familarise myself with it’s nitric expression, something new and unobserved always reveals itself to me. The colour sequences combined with a sense of energetic and exciting things to come.
It is an honour to hold a piece of Keith’s work – it will always have a place in my heart and home for as long as I have one.
Charlotte Catherine Burdett / England
I find Keith’s work becomes textural upon his brush. Creating landscapes, valleys upon hills, and scraps of colour, their own story often hidden till viewed from a different angle. Rouched ribbons of colour wend their way blindly from edge to edge, and stop abruptly, and I walk away wondering.
Always thought provoking from inception to execution. A solitary journey emerges for the masses.
Mr Timothy St John Bilbie / Melbourne, Australia
Keith’s use of colour and texture is truly wonderful. He uses a variety of techniques to get his desired results and is not afraid to experiment. I own a few of his pieces of which have a similar theme; black, red, gold leaf and bold lines. The use of the gold leaf gives the paintings a vibrant and splendid feel which I love. I find them warm and inviting. Saying this, Keith is far from one dimensional and had many sides to his art. I look forward to seeing his work from his time in Korea and how his experiences have influences his style.
Jessica Duncan / New York, USA