Rufus Knight-Webb has been living and painting in London since the 1980s. By the end of the decade, he was heavily influenced by electronic music, inspiring him to develop a new form of 'Techno Expressionism', using fluorescent paint and ultraviolet light. The results were abstract geometric paintings with two different faces; one that came out during the day and one, more psychedelic, at night.
In the 1990s, he withdrew from the world of ambient music and started working as an assistant in various art galleries and with leading contemporary artists, such as Michael Craig-Martin and Alan Davis, who had a strong impact on his artistic production. Still using UV lights and fluorescent colours, he started spray painting more minimalist, simplified figures of curves, representing the human body and its eroticism.
“My paintings reflect my interests , the common ground for my work is a choreography of rhythm and gesture, a continual flow of unstructured, musical energy within the work.
The broad, exaggerated brush strokes are metaphors in themselves, they are a library of symbols representing my movements and presence in the real world. They support my journey into the imagination, and remind the viewer that each painting is both a physical and imaginative journey.
The narrative of a picture may describe something romantic, a memory or a sensation. The streaks of white paint dragged over the surface may evoke the sea-spray in one painting, however they might as easily evoke the electro-static sounds of music in another painting.
Sometimes the subject of my paintings is the paint itself. When I mix paint and focus on the substance of the paint, I believe in its illusion. It is this intimate, illusory relationship with the medium, which defines much of my work, as it has also done with many other abstract artists. Paint is nothing more than a symbol, a fluid box of Lego. I believe in it when I am painting, like a child believes in their Lego construction before it collapses".