Greenberg in the eighties, where the critic complemented Moffett on having a good eye. This rare endorsement from Greenberg still resonated with me.

I looked Kenworth Moffett up on the Internet and to my surprise, his online Artletter appeared. Along with lots of writings, the Artletter featured many examples of New New Painting, a movement I’d never heard of. Despite the inadequacies of screen reproduction, there was enough to recognise that there was some highly progressive and original work here.

Soon after this, I called Mr Moffett to ask if I could visit him and see his collection. He was very obliging and so alongside an art viewing trip to New York, I met Kenworth Moffett, who has very kindly afforded me much of his time. I took to

most of the works immediately, recognising their originality and tremendous visual qualities. I could see how they had moved on from Olitski and at the same time showed links with earlier movements from the early twentieth century along with Surrealism and Abstract Expressionism. They did also challenge my eye though, and I did have difficulty getting to grips with the increased plasticity and garishness of some of the works.

On my second visit about a year and half later, I was much more at ease and could now appreciate ones I hadn’t been sure about. On this second trip I also visited some of the artists at their studios and this was yet again a big eye opener. This gave me a much clearer view of the unique qualities of individual painters and where they are currently at.

When I got home from the first visit, I took on a more experimental approach to painting. A big factor with New New is the plethora of innovations with materials and colour. From here on I experimented more in regard to trying other mediums such as gels and metallic colours. Through much trial and error, I have continued to explore new possibilities for my painting. The New New have certainly provided a springboard from which I can push my work forward

I now devote most of my time to painting, I have recently acquired a studio for the first time and seek to develop my work in a way that is modernist, expressive, powerful, original and true to the traditions of a medium that has not run out of steam. The fresh possibilities for painting are as alive as ever.