I really value 'aliveness' in any visual art, so a perfect painterly finish has less importance than conveying movement and energy.
My subject matter has mostly settled on women, abstracts, figures, buildings and boating scenes. And what I try do is try express and share the thrill I feel when light hits these subjects.
I live on the east bay outside of San Francisco, where we have settled with our two boys, but I invoke the bright light, the textures and the eclecticism of South Africa in my work.
I like the painting surface unpredictable, rough and scarred. I think this may be partly because I remember seeing my mother drawing funny cavemen in charcoal on a friends garage walls for their prehistoric themed party when I was five, and that pretty much made me want to be an artist.
Though I now feel the only way to make a painting is to plan a work using sketches, and sometimes rearranging things on the Mac before I start, I still usually go into the studio with an open mind.
After 20 + years of drawing at high speed for the advertising industry, I was very reliant on my line work but that's changing the longer I paint.
I attempt to show two, maybe three sides of everything: the impact of both subtlety and strength, and I often like the process to show, and come through, both accidents and certainty, tempered with some sort of thought process.