Whilst studying Fine Art in the 1950’s, I was introduced to some of the skills and disciplines of academic work. After this an individual way of working still needed to be developed – a bit like signing a cheque with your signature and eventually emerging as singular and personal in character.
I am not just interested in representation; in fact I do my best to avoid too much and to experiment. I use masking tape to preserve the vital white paper and often find myself tilting the board, throwing paint over the work, dabbing out with tissue and lifting shapes with blotting paper in order to connect with the process. I like the fleeting images of reflections and chance effects of light and to capture these I make extensive use of the camera enabling me to collate the images in the studio. I love these multi-layered, transparent images reflected in glass, which seem to echo the translucency of watercolour. Painting thus becomes a mass of spur of the moment personal decisions, with coloured puddles being pushed around the paper. The image and process become welded into one with considerable risk and excitement.
1933 Born on December 13th in Kington, Herefordshire
1951-1954 Hereford College of Art NDD (Fine Art and Wood Engraving)
1956 - 1957 West of England College of Art, Bristol. A.T.D
1972 – 1995 Principal Lecturer, Dept. of Art History and Communications, Coventry University
1986 Middlesex University. MA in Design History