Last year, I took some of my work to an appraisal evening at my art society. This is an occasional event where members put there work on an easel in public view of an audience who are then invited to
After some time on the canal, I’m spending this month travelling around in the van, fitting in family events along the way. I’ll be sketching as I go, so will hopefully be posting as I can, or more likely
My ‘urban reflections’ linoprint is on display in an online exhibition here at ONPAPERCONTEST 2016 as part of the 2nd International ON PAPER printmaking competition, organised by the Barcelona-based artists’ organisation, Sala Ramona. 12 artists have been selected for the final exhibition
‘uphill’ iscurrently at the framer’s in readiness for the RBSA Prize exhibition in Birmingham, from 4th May until 4th June, 2016. I’m very pleased to have had it accepted. I love working in pastel. It’s such a fresh and direct medium. For
In response to a couple of questions I’ve had about the process, here is some additional info and a couple of slideshows showing the multi-layer printing process I used for the fieldwork prints. I used the reduction method on linoleum, where
I have just finished these three small reduction linocuts, based on some quick watercolour and pastel sketches I did in Wiltshire last year. The open landscape there is one of rolling downs, long bare ridges dotted with copses of trees (‘hedgehogs’),
‘the pathless wood’. The title is a reference to a line from ‘Birches’, a poem by Robert Frost. ..when I’m weary of considerations, And life is too much like a pathless wood.. When life feels like that, I go for a
A short January walk in South Staffordshire; a mild winter up until mid-January, the fields rich with growth, the low mid-day sun silhouetting bare trees against rain-laden skies, stretching shadows across the vibrant greens; standing still against the breeze, trying to
More painting en plein air, this time in 25cm x 25cm format. I like fitting the composition into the square.
Over the winter, I spent some time trying to force a reconciliation between the work I do as a printmaker and the work I do as a painter. Both start from direct observation and resultant sketchbook work. But then they diverge.