I am a contemporary painter working from my garden studio in the Cambridgeshire Fens where I have lived for nearly 40 years. I have a BA (Hons) in History of Art & Architecture, and have drawn, painted and explored creative processes all my life, taking courses and workshops to challenge, develop and stretch my creativity.
Currently focussing on shorelines, rock surfaces and geological strata, I explore the minutiae of detail on the immense land mass of our precious environment which we inhabit and impact both locally and globally. My perspective is shaped by the local and global coastlines I have visited, exploring connections across time and place, locally and globally, considering how we inhabit and impact our environment.
Working in oils and cold wax, I build up layers into which I press textures, reveal marks and incise lines. This slow, physical process mirrors in some ways the formation of natural phenomena which inspire me and reflects ongoing life cycles of growth, erosion, ageing and renewal. I explore how geological elements fracture, separate, transform and re-settle where they can, as coastal areas shift and change through erosion, climate change and human impact. In a time of environmental uncertainty and rapid change, my work offers a space to slow down and pay close attention to what is often overlooked.
In 2025 I was artist in residence for the Fluid Earth residency with Groundwork Gallery, the art and environment gallery in King's Lynn, and I presented my work at the Groundwork Conference. The residency has been a wonderful and challenging opportunity to deepen my understanding of the interconnectedness of the human and non human, and to want to continue to consider the role of art in raising awareness of environmental issues.
My work is held in private and corporate collections across the world, is published in "Portraits for NHS Heroes" and exhibit regularly in the UK.
WHERE I WORK
I live in the Cambridgeshire Fenlands,
painting in my garden studio.
My daily walks along the river are rich with the changing sounds, colours and temperatures of the seasons, the shrill call of the kingfisher, the whistle of the otters, the gossiping and singing of the swans, fish jumping, trees rustling and talking, raucous crows, delicate songbirds, all feed into my work.
The light constantly changes and delights with big skies, gathering clouds, rainbows, dramatic sunrises and sunsets.
MY ART PROCESS
I paint with oil paints mixed with cold wax medium to create a lovely buttery consistency. Using squeegees, palette knives and brayers I apply and build up layers of paint and history. I write in these layers, make marks, sometimes add pigment or ash, or other small, sometimes precious, elements. I create and embed textures, find, tease out and incise lines, reveal what lies underneath.
The process of working with cold wax medium mirrors the geological formation of the strata, layers, ancient marks and lines. The coastal rock and geological strata that have formed have been subject to the eternal rhythm of the tide, the relentless forces of the elements and the internal forces and movements of the planet. My perspective is shaped by observing the shared vulnerabilities, interdependencies and threats that link the coastlines that have captivated me. Their vulnerability, fragility and resilience I also recognise in my own ageing process.
The movement of the paint and media on the panels mirrors the evolving landscapes and history of both environment and human experiences.
I am concerned about the environmental impact of my practice and am currently experimenting with making solvent free wax medium.
Photo credit: Fabian Granados
SKETCHBOOKS & TRAVEL
I have been fortunate to travel to some wonderful countries and landscapes.
Wherever I travel I take my sketchbook so I have drawings which I refer to back in the studio.
I take my impressions and experiences from my wanderings, whether it is the minute pattern and position of a twig in the grass, the magnificence of a sunrise or sunset, or further afield the rugged beauty of a salt lake or imposing volcano.
Sketching seems to ground the full sensory experience of a place in the memory, and as such forms an important part of my work where visual and sensory impressions and references combine with emotional responses and are incorporated into my work.
I love organic structures, patterns and shapes in nature, surface texture, weathering, marks of age in rock formations and historic marks in buildings.
I seek to express what it is that has touched me about a place or person.