The paintings hold a parallel with life in the respect that their origin is uncertain and their outcome is unknown.

Kevin Willetts Notes October 2005

New site challenging ideas of how abstract art is relevant today. Colourful expressive works inspired by the conflict of ancient beliefs  (& loss of meaning through time) with new scientific developments. How symbols lose meaning and become visual empty marks on a canvas. How space is disrupted on the painting surface with multiple perspectives. The forms within the paintings all associate with one another forging uneasy relationships, and inter connecting - as life forces are all held together by subtle unseen threads. Another important inspiration for the paintings are to do with metal processes, and how visual images are gathered in the brain and processed in terms of pattern recognition. Some forms are just becoming, and are half recognisable whereas other forms remain silent and are removed from association. The paintings seek to include and are open to new input of visual forms from a variety of sources, including scientific diagrams and ideas on mental visual rotation as pioneered by Stephen Kosslyn. The paintings also deal with the conflict of scientific ideas and religious beliefs, and how the two sit with unease in today's ever changing world. This is shown in the paintings by disruptive relationships, of colour - form, space and symbols. There is a continual dialogue with the past, and the past and present become as one.

Kevin Willetts from notes August 2005
Statement.

I want to create original exciting works, with engaging colour relationships.
The paintings have a dual paradoxical role of referring outside of themselves whilst being self-contained, I want the paintings to be enriched by a visual texture of playful forms, that interact with one another. I believe possibilities are infinite in abstract painting, and want to explore new ideas and create visually original works utilising new media & old techniques - ie. computer images and traditional painting methods. Painting should be progressive, and it is the searching that attains an importance superseding the end results. The paintings have a similar visual identity to each other, as they share the same concerns and ideas. I feel this is important, and the works dictate new directions and relate with one another, whilst influenced by disparate sources such as recent ideas in science & psychology, combined with references to ancient history. the painting must always look to go beyond itself, and attain more than it is capable of showing. There are secrets the paintings withhold from the viewer, and this adds to feelings of uncertainty & anxiety within the viewer which are important.It is important the paintings disclose and yet withhold at the same time. Life is uncertain, and I want painting to reflect this as well, nothing is known with certainty, but everything is continually questioned.

Kevin Willetts, 2005

Influences and inspiration include:
scientific ideas (higher dimensions / superstring theory etc..)
philosophy of the mind/body problem (inc Richard Rorty)
philosophy of Adorno / Foucault
psychology / pattern recognition (inc concepts of Stephen Kosslyn ie. mental rotation),
language and word association,
ancient Celtic art and beliefs, Roman mythology - loss of meaning
early Modernist painting, Surrealism (inc Chagell) & dada 
abstract painting ( Frank Stella / Mel Bochner /Brice Marsden etc.. )
music
An identity is sought through references to the past and especially diverse cultural influences such as Celtic, Norse, Saxon and Baroque art. These provide inspiration for forms and shapes within the  paintings. the spiritual aspect of ancient cultures is also a subject within the works, beliefs that are alien to modern day culture. An ancient society that was much more in touch with nature, and very much aware of the spiritual, as evidence of their ancient art shows. The blurred distinction between myth and reality, between what to believe in and what to dismiss. come into question. References are veiled within the paintings, and don't disclose their identity easily. This can be equated with the magical process of creation, and it's refusal to be captured and analysed. Many aspects of life are still unknown and cannot be explained within the framework of science. Painting touches upon these unknown realms, without attempting to fully understand them. Painting still has a special relevance today, as it is a special and unique journey into undiscovered worlds. They are worlds of colour and the subtle balance between relationships of colour which co-exist sometimes in harmony and sometimes in conflict. Combinations of colour which are often unexpected and challenging but never predictable.

Kevin Willetts from notes October 2005
The paintings attempt to attain a position that is beyond reach . Every painting is an attempt to reach an absolute culmination of a journey, which is visually recognisable but resists understanding in terms of written language. The process of creation is all important, and the act of painting suggests unexpected directions itself. Forms and colour relate with each other in a highly charged emotional way. They hold a dual relationship between often making obscure references outside of themselves and yet being apart from complete recognition. Images within the paintings are assembled in the mind, and compared with known recognisable forms out-side of the painting, the mind continually wants the forms in the painting to be identified and visual patterns sought. A complex relationship is going on,  the lack of visual identification increases a higher state of emotional feeling. The viewer also compares and looks for visually similar forms and colours within the painting itself, & tries to assemble the visual complexity into order.

Kevin Willetts from notes October 2005