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to create energetic ridges and furrows of pigment that can be read as extreme close-ups of a painterly brushstroke, drawing attention to the action and materiality of painting itself. His works are structurally varied, ranging from a thin glaze through which the metal ground gleams to sculptural reliefs with overlapping ridges and furrows. In the context of Martin's notion that landscape painting and abstraction are intertwined, his work becomes an imaginary space, a mental landscape, an abstracted and mesmeric focal point for contemplation.
Works on paper allow the artist to experiment with movement and colour before turning to larger-scale formats in oil. The fluidity of the cold process dye he employs enables him to explore the interaction between pigments, as he lets himself be guided by the merging tints of emerald green and ultramarine blue, yellow and ruby red.