2015 ‘50 Years of Artists Prints’ with Printmakers Council, Bankside Gallery
2015 Jack House Gallery, Portsmouth
2015 ‘50/50’ The New Ashgate Gallery, Farnham
2015 ‘Works on Paper’ The Barbican
2015 – 2010 ‘SWA Annual’ Mall Galleries,
2014 Prints Commissioned for Brunei Hotel London
2014 ‘Dulwich Open’ Dulwich Picture Gallery,
2013 ‘A Reflection in Print’ Highgate Gallery
2011 ‘Second Impressions’ National Theatre
2011 ‘Bite’ Mall Galleries,
2009 ‘Lasting Impressions’ National Theatre,
2009 ‘30 Years, 30 Artists’ The Oxo Gallery,
2009 ‘Open’ Royal West of England Academy, Bristol
National Society of Painters, Sculptors and Printmakers
1971-72 London University
1968 -70 Central School of Art, London
My first introduction to printmaking was at the Central School of Art where I was studying Ceramics. One day each week we were able to visit other departments and I chose the etching room. The whole process was a revelation to me, and I was seduced by the magical quality of ink transferred on to paper under intense pressure. I knew it would be something I would return to.
“Having worked with clay for most of my professional life, I now find my printmaking work is foremost in my practice. My interest centres mostly on the natural world. I frequently visit the coasts of Norfolk and Suffolk and am drawn to the vast and unpopulated open spaces and huge skies, so typical of this area. I work ‘en plein air’ in the fields and on the marshes working first in pastel, simply sketching and observing. These drawings are an emotional response to the subject and feed both my printmaking and my imagination. My prints explore the glory and the mystery of the landscape both rural and urban. I enjoy depicting the ever changing effects of light and colour at different times of the day and as the seasons roll through the year. I love the reversal of all the tonal qualities of the landscape after snow has fallen, and the effect of the evening light, in all seasons, has a particular resonance for me.
I work from my own studio using my Bewick press. I have developed some unorthodox processes which suit my working set up. My favoured printing process is etching, using soft ground, aquatint and spit-bite, sometimes using two plates. I love the qualities of aquatint, where with just a few second intervals in the acid, it is possible to create gently changing tonal values. I am captivated by the deep intensity of the ink, where the paper and the ink become one. In addition, I employ drypoint and carborundum, again often using two plates, which also produce deep rich blacks. Here the editions are smaller, often only 5 – 10. I like to vary the wiping on these plates, so that each print is unique, hence ‘ev’, ‘edition variable’. More recently, I have been experimenting with colour, using two plates with dry point, carborundum and monoprint, and each print is individual. I hope to extend the use of monoprint as I find it so exciting with each print offering something different. I am also experimenting with Intaglio gravure plates which provide me with yet another set of rules and further horizons to explore”.