Not looking upon my work as a means of resolving personal neurosis my basic concern is with articulation of the square surface, and in particular with 3 aspects of that surface 1 the edge 2 the centre 3 the entire surface. The various images derive directly from what I feel to be the structural implications of the square and they are not intended to have reference to external events or objects. At present I feel that conscious involvement with the ephemeral or spiritual bears little relationship to my concerns. Perhaps because of this I use no variable process of painting which has to be passed through in order to reach the image. The process is the simplest and most direct method, whether mechanical or otherwise, to achieve expression of the Initial concept. The finished canvas rarely differs structurally from the working drawings, rather being a logical fulfilment of them. The formal devices which I use the line and the dot are extremely direct and need not form a shape in the usual sense. They also integrate ground colour and image, which I think important. The paintings are generally stable and symmetrical about at least one axis. I use only those marks which I feel to be absolutely necessary to the most direct articulation of the canvas. John Loveless July 1967
Born in Bristol. He went to Queen Elizabeth's Hospital, Bristol, studied architecture at the RWA School of Architecture, Bristol 1961 - 63 and painting at the West of England College of Art, Bristol 1963 - 65. He is married, with two children, and is at present working with visual aids at Henbury School, Bristol.