E-mail:email@example.com Qualifications Art Currently studying MA Drawing at Wimbledon College of Art 2011-2013
BA (Hons) 2.1 Fine Art, Painting 1990-93
Chelsea College of Art and Design
Fine Art Foundation (Distinction) 1989-90
Reigate School of Art and Design
Design Diploma in Professional Studies 1967-70
Fashion, Wolverhampton Polytechnic
Teaching PGCE in Secondary Education, Art and Design 1995-96
Institute of Education, University of London
Employment Teaching ‘A’ Level and GCSE Art/Textiles: 1994-2007
Occasional visiting tutor on Foundation and BTEC
Drawing Workshops - Drawing skills and discovering charcoal
- Textures and markmaking
- Life drawing
Freelance Illustrator 1973-88
Specialising in figures for magazine editorial,
advertising and publishing
Fashion Designer/Pattern cutter 1970-73
Wimbledon College of Art - Foyer Gallery 2012, Oaks Park Open Studios – 2003 to 2012
Tres Olé – Olé Gallery Putney, 2008
Honeywood Museum - May 2008, Chichester Open - Nov 2005,
WAS Open Studios – 2000-02,
The Byker Art Show, Newcastle-upon-Tyne – 1993 shown on BBC2 - 2 July 1993
Atrium Gallery, Whiteleys, London "Brush with a Future" – 1993,
Cranfield Conference Centre, Milton Keynes – 1991
Collections Chelsea College of Art – The Deans Collection
Cranfield Conference Centre
A painting can start from anywhere, an insignificant detail, the density of yellow road paint, a pathway worn through generations of use, a vast space and sounds that fill it, a worn stone where two rivers meet, the weave of a shirt fabric.
These observations are stored and used later without their reference to nature.
Painting about simple things, using simple materials, my paintings initially appear deceptively open and simplistic.
As an abstract artist the physicality of the painting and formalist concerns of line, tone, form and structure are the main considerations. A painting evolves from the first decision, often directed by colour, dilute or dense that may be contained within the edges, stop short or spill over. Tensions are built across the surface of the painting, determined through temporal recollections.
The physicality and rhythms disturb and appear to unbalance the viewer. The colour and its quality has a purpose, it is both itself and it creates directions, reinforces, alters, disrupts, re-arranges. Horizontals and verticals become visible. Visual differences build relationships within the layers exposing or concealing as the painting simply reveals itself.
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