Soft pastel on rag paper. Exploring a simple 1234 number system and thinking of enclosure (Birkenau, etc), the surrounding trees/forests(In Dark Trees), 'An Index of Metals', the Periodic Table, melancholia, etc. Each panel A6. 2013
I was given an old camera which still had an undeveloped film in it. The images which resulted appeared to show an indistinct landscape with a path leading through it. As I processed them with a b+w photocopier this process increased the contrast and also suggested new possible images to me, so I started selecting and reworking what drew me and discarding the unwanted. Eventually, through cutting, collaging and stopping out elements of these a continuing series of seascapes materialised. 1983. Shown at Hastings Museum and Art Gallery. Private collection.
This drawing describes the traverse of the sun from night into day, light into dark and back. One of a series. 2011 Shown at Rye Art Gallery. Private collection.
Soft pastel on rag paper. Exploring ideas of enclosure (Birkenau, etc), the surrounding trees/forests(In Dark Trees), 'An Index of Metals', the Periodic Table, melancholia, etc. Original approx 5'x4'. 2012. Private collection.
Working drawing intended for a series of porcelain/bone china plates based upon imaging of the North Atlantic Ridge. A metaphor for increasing global schism. A4. 2013
A series of simple 'bowl' drawings on A6 paper with the rim represented by the edge of the paper, one of each later inverted to imply a fit, one within the other. 2012
I was given an old camera which still had an undeveloped film in it. The images which resulted appeared to show an indistinct landscape with a path leading through it. As I processed them with a b+w photocopier this process increased the contrast and also suggested new possible images to me, so I started selecting and reworking what drew me and discarding the unwanted. Eventually, through cutting, collaging and stopping out elements of these a continuing series of seascapes materialised. In common with the other seascapes it was modified using a colour copier and graphite. 1985. Shown at Hastings Museum and Art Gallery. Private collection.
Soft pastel on rag paper. Exploring ideas of enclosure (Birkenau, etc), the surrounding trees/forests(In Dark Trees), 'An Index of Metals', the Periodic Table, melancholia, etc. Original approx 5'x4'. 2012. Private collection.
I was given an old camera which still had an undeveloped film in it. The images which resulted appeared to show an indistinct landscape with a path leading through it. As I processed them with a b+w photocopier this process increased the contrast and also suggested new possible images to me, so I started selecting and reworking what drew me and discarding the unwanted. Eventually, through cutting, collaging and stopping out elements of these a continuing series of seascapes materialised. In common with the other seascapes it was modified using a colour copier and graphite. 1985. Shown at Hastings Museum and Art Gallery. Private collection.
Originally a photo of fabrics in Sierra Leone this eventually became the perimeter series but could still be worth re-visiting. Influenced by Sean Skully and Richard Serra. 2009.
One of a series of original images made using repeatedly drawn, modified, scanned, and collaged photographic imagery exploring personal experience of 'melancholia' and inspired by the film 'Melancholia' (Lars von Trier). Available as an archival giclee print. A4-A2. 2014
'Prints' made by cleaning the rims of unfired terracotta cylinders on wet rough rag paper. Echoing the way in which lenses were made. Each one A4. 2012. Private collection.
I was given an old camera which still had an undeveloped film in it. The images which resulted appeared to show an indistinct landscape with a path leading through it. As I processed them with a b+w photocopier this process increased the contrast and also suggested new possible images to me, so I started selecting and reworking what drew me and discarding the unwanted. Eventually, through cutting, collaging and stopping out elements of these a continuing series of seascapes materialised. In common with the other seascapes it was modified using a colour copier and graphite. 1985. Shown at Hastings Museum and Art Gallery. Private collection.
I was given an old camera which still had an undeveloped film in it. The images which resulted appeared to show an indistinct landscape with a path leading through it. As I processed them with a b+w photocopier this process increased the contrast and also suggested new possible images to me, so I started selecting and reworking what drew me and discarding the unwanted. Eventually, through cutting, collaging and stopping out elements of these a continuing series of seascapes materialised. 1983. Shown at Hastings Museum and Art Gallery. Private collection.
Collaged/photocopied found images, paint and coloured pencil. Inspired by the relationships between organisms living in the sea as a metaphor for social strustures. 1990. Shown at Hastings Museum and Art Gallery. Private collection. Also sold as an edition of colour prints.
I was given an old camera which still had an undeveloped film in it. The images which resulted appeared to show an indistinct landscape with a path leading through it. As I processed them with a b+w photocopier this process increased the contrast and also suggested new possible images to me, so I started selecting and reworking what drew me and discarding the unwanted. Eventually, through cutting, collaging and stopping out elements of these a continuing series of seascapes materialised. 1984. Shown at Hastings Museum and Art Gallery. Private collection.
I was given an old camera which still had an undeveloped film in it. The images which resulted appeared to show an indistinct landscape with a path leading through it. As I processed them with a b+w photocopier this process increased the contrast and also suggested new possible images to me, so I started selecting and reworking what drew me and discarding the unwanted. Eventually, through cutting, collaging and stopping out elements of these a continuing series of seascapes materialised. In common with the other seascapes it was modified using a colour copier and graphite. 1985. Shown at Hastings Museum and Art Gallery. Private collection.
I made these after hearing about ways of leading animals (or people) to slaughter and after re-visiting the work of Richard Serra. I made large working drawings from them but could see no way of working the idea in ceramic largely because of scale. Recently I've realised that in some ways they (for me at least) connect and try to approach the same feelings as current 'Melancholia' drawings. 2009
Completed master water-slide sheet of red-list British insects and including 'savage' and 'dodo ware' logos. Made from coloured pencil drawings. A3. 2013-14
Pages from my notebooks including proposals for assassin bug jars, satellite bowl, acropolis, and a banana planter, etc. Early 80's onwards. Private collection.
Working drawings for 'A very small volcanic eruption', a metaphor for global economic crash. Taken from 'Thirty six views of Mount Fuji' by Hokusai. I made several series of these as small ceramic pieces which were shown at the Weekend Gallery in Hastings. Influenced by Richard Slee 'A very small nuclear device'. A friend at volcanic editions was also working on a similar theme. 2009
I was given an old camera which still had an undeveloped film in it. The images which resulted appeared to show an indistinct landscape with a path leading through it. As I processed them with a b+w photocopier this process increased the contrast and also suggested new possible images to me, so I started selecting and reworking what drew me and discarding the unwanted. Eventually, through cutting, collaging and stopping out elements of these a continuing series of seascapes materialised. In common with the other seascapes it was modified using a colour copier and graphite. 1985. Shown at Hastings Museum and Art Gallery. Private collection.
I was given an old camera which still had an undeveloped film in it. The images which resulted appeared to show an indistinct landscape with a path leading through it. As I processed them with a b+w photocopier this process increased the contrast and also suggested new possible images to me, so I started selecting and reworking what drew me and discarding the unwanted. Eventually, through cutting, collaging and stopping out elements of these a continuing series of seascapes materialised. In common with the other seascapes it was modified using a colour copier and graphite. 1985. Shown at Hastings Museum and Art Gallery. Private collection.
A homage to Georgia O'keeffe and to 'Blood Meridian' and the point where I decided to visit New Mexico and re-visit ideas associated with adobe structures and 'anasazi' culture. 2013.
Coloured pencil on ivory board. Reflecting my interest in pyramids and plants and made after reading 'The Well at Worlds End'. 1980. Private collection.