Originally from the New Forest in Hampshire, work and a love of the Yorkshire Dales took me to Leeds. Being good at art was something just born in me and it was a natural route to go on to Southampton College of Art. It was the 60s. It was great fun, all you had to do was paint, draw and sculpt every day.
Always the variety, colour, structure and mood of nature. My work has been described as "pattern with depth."
The deep blue of the sky and the olive trees contrasted against the parched golden grass with patches of deep shadow. These come together to make a rich pattern. The landscape is an excuse to have fun with these elements.
I taught Art & Craft for four years in a boys school, but I've moved around a bit. I'm now also a University Chaplain.
It's always the initial idea - that moment of inspiration, something different, bringing together contrasting values. A painting has to say something more than a photograph can say.
Well, I have done a small amount of clay sculpting and would love to develop this.
Continuing from the last question, I find I become absorbed with clay work, I forget to eat and even to move I suddenly realise my arms are aching from being stretched out all the time. Clay is so spontaneous, you can pull clay from one side of a sculpture and push it onto the other side. You use your fingers, it's very tactile.
Freedom Mills Gallery, Leeds in 2018, specific date to be announced.
Juan Sly has brought a welcome rough edge to the gallery with his low price creative juxtapositions. Humorous with a dark cutting side. I love Avuydas Butautas' surrealist work bringing together many opposing images. Clare Blols just freely uses a brush full of paint to create a landscape - superb !
SUNSET OVER THE NILE: I've crossed the Nile many times in Uganda and this Biblical river always enchants. Here I'm using a flood of colour to reflect the lowering sun illuminating everything on the swollen waters.
SAPLING IN THE OLIVE GROVE: This is one of my Greek paintings. The young tree caught my eye as it set a contrast between the golden grass and the dark orchard standing out with its fresh, yet unscorched, leaves. I deliberately left out the sky, which also gives the painting a different feel.
SUN SOAKED CYPRUS. The minimalism of this is something that attracts me. There is the freedom to use brushstokes for the sake of it and some cool sky to contrast the colour of the grass.
SKY, SEA AND EARTH. Here, I'm playing with perspective. The clouds and the olive trees recede into the distance, drawing us in with them. We're looking up at the clouds, out to the horizon and down at the nearest trees. Oh, and plenty of primary colour.