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The materials that I use are of paramount importance to
me. The structured aquarelle paper, preferably of rough
and heavy grain, is a surface that supports and conveys
the message to the viewer -- the message itself usually
being of a rough and heavy nature.
The medium is ink, and is practically always applied by
Rapidograph pens. I use the pen like a painter might use
a brush, the pen rapidly stroking the surface of the paper,
building a matted, somewhat soft texture of minute curls,
lines and points.
The original source of this matted surface structure was,
rather strangely, originally revealed to me in a large work
that I was doing of a full-frontal, well-hung, naked torso.
After having completed the pubic hair area, I returned
to the same drawing the following day -- and that
particular area jumped out at me. I decided to experiment,
and produced a small drawing of an erect dick using only
a mass of tiny curls of ink. The conclusion proved very
I had found an original technique.
For want of a better name for my process, "curled"
would have to suffice. I did work in dots at one time, but
I found that another gay artist, Rex, was doing the same.
So I switched -- first to tiny dashes. Then I discovered
At all times the composition is arrived at directly onto
the final surface. Therefore, there are never any preliminary
Titles are also important. They allow me to introduce an
element of humour which I regard as an essential part of
consensual behaviour and comraderie, and it gives
the work a sort of long time in art.
A great body of my works are dick and balls concentrated.
That stems from my street-wise crotch-watching. Also many
of the action torsos are headless, which is very important
to me, as my intention is that the viewer can choose to
place himself, or a friend, within the circumstances of
the fantasy that he is viewing. I hope that it opens the
range of my work to a much wider audience. As it were, "Something
Much, if not all, of my chosen subject matter is drawn
from personal experiences. It can almost be regarded as
auto-biographical, as it draws from my sexual experiences
of some 30 years. Many of the figures represented are actual
guys (real people): one-night-stands and friends.
Elsewise, the guys are purely symbolical and have been drawn
from my lusty past -- together with the free range of my