Picture this scenario: if I won the Euro-Millions Lottery on a Friday then got given a solo-exhibition at Tate Modern on Saturday then by Sunday I’m pretty sure I would have painted Jitter Blast! That is how explosively happy and radiant this painting is! Every single square inch of this large canvas is packed with life, energy and thankfulness.

Of course I haven’t won the Lottery or been given a slot at Tate Modern (and I’m not in the slightest bit bothered by that). I use those analogies to try and tell you how one painting can make a difference. One painting can encompass all that you are as a human being and all that you are as an artist. This is the one. I am sure of that, but it only hit me as I took the photographs of it. Weird; I have never felt like that before. Jitter Blast made the hairs on my neck stand on end when I put him on an easel to photograph. I mean, how can you not be happy when you look at him?

Maybe it’s the colours, maybe it the shapes or maybe it’s something else – an amalgamation of small things resulting in something big? Whatever it is I think this is a breakthrough piece for me; not in style but in what lies behind it. He was painted in the middle of a very busy and hectic schedule but I recall that my focus and serenity, amidst the chaos that was abounding, allowed me to find that very special place – the point where nothing exists but the self. I am thankful for these times. I have much to be grateful for and even more to celebrate. When painting is pure joy and fun out pops a little rascal like Jitter Blast.

I named him after an improvised solo jam by guitar-supremo Blues Saraceno. It kinda fits really well as it’s a very dynamic and vibrant explosion of his insane technique but also there is a great deal of soul and feeling in what he plays. I like that – controlled chaos and more than a hint of cheekiness!

Jitter Blast is painted in a selection of industrial enamels blended to my own formula. He measures 140cm x 160cm by 46 mm deep. He was painted onto a flat piece of triple primed Belgian canvas then hand stretched by me over a solid kiln-dried hardwood frame (museum graded) and stapled on the reverse.