I think that we all have a kind of signature pose; the way each of us settles into a chair, for instance, is different. That is the kind of difference I try to take hold of in my painting. I am interested in the differences we exchange.
The process of making a portrait always begins with a discussion. Consideration is given to all the elements that the picture might eventually contain. The outcome will be a collaboration in some degree but finally the artist has to take responsibility, he has to make his mark.I prefer to work entirely from life but I do realise that the sitter may not always be able to make the necessary commitment. Consequently, I am prepared to make use of photographic reference together with actual sittings. In this scenario a substantial part of the painting can be completed in my studio. Sittings would be scheduled at different stages of the process and to suit the client.Once the proposal has been agreed a timetable will be set. During the initial sitting I would typically make some sketches in oil or pencil to refine the proposal. If working just from life, I would normally need about twenty-five hours to complete a half-length painting in oils. A drawing will normally require between six and eight hours.
1978-81 Studied Fine Art at Goldsmiths College.
Taught Art and Design in various capacities for more than 20 years.
Teaches part-time at Bryanston School.
The Prince of Wales Prize for Portrait Drawing, 2004.
2008 The Kitsch Biennale, Pasinger Fabrik, Munich.
2007 There is no Reciprocity, ABA Gallery, London.
2007 Self-Portrait, The Bulldog Trust, London.
2006 GMAC, Paris.
2006/07 Lynn Painter-Stainers Prize, Painters Hall, London.
2006 Originals, Mall Galleries, London.
2006 Marc de Corte Gallery, Ghent.
2005-08 Royal Society of Portrait Painters Annual Exhibition, Mall Galleries, London.
2005 ARTEXPO, Antwerp.