Exhibitions etc.

The 2 Fish Gallery,
Bridge Green Farm,
Gissing Road, Burston, Norfolk, IP22 3UD
'Drawing Open' at the One Church Street Gallery, Great Missenden, Bucks, HP16 0AX
Brighton Art Fair
Ludlow Summer Exhibition
Norfolk Open Studios at the Art Factory in Norwich

(Click to read more Exhibitions...)

'All Mixed Up' at the Eyestorm Gallery in Ipswich.
Norfolk Open Studios at the Art Factory
Eastern Open at Kings Lynn Arts Centre
Christmas Open at the Art Factory, Norwich
with InPrint at the Welborne Arts Festival, Norfolk.
Two person show at The Hobart Gallery at the National Trust's Blickling Hall, Norfolk.
Bally Shoe Factory, Norwich.
Two person show at The Harleston Gallery, Norfolk.
Inprint at Cuckoo Farm Studios, Colchester and The Cut, Halesworth.
Bally Shoe Factory, Norwich.
Target Follows Wembley Point Corporate Headquarters

In the mid-1990's I took a break for a few years from art, working full-time and traveling for a year. In 1999 I took a studio in Peckham and began to paint again with a very different style.

Various group and individual exhibitions during the 1980's and early 1990's including:

1983-94 The Whitechapel Open; The Royal Overseas League; The Cleveland Drawing Biennale; South London Gallery Open; The Guardian sponsored Art for Sale at Whiteleys.


I have sold to private collectors in the U. K., Italy, America and South Africa.


Recent Realism

My work is about our experience of the world and how we try to depict it. Our experience is fragmented, and reality is only revealed to us in partial glimpses, and we often try to elucidate, or analyse aspects of our experience, but this, most often than not, ends up obscuring and confusing the bigger picture.

(Click to read more about realism...)

I'm not interested in portraying beautiful panoramas, or scenic views, I'm interested in the landscape we walk past every day and don't give a second thought to. I want to capture the deep wonder and mystery of nature, but also at the same time, its banality, its ordinariness. These ideas of beauty and banality, of the commonplace and the mystical, which exist at the same time in everything, may account for the fascination landscape and nature holds over us.

I want to duplicate this sense of mystery by confusing the viewer initially, to create an uncertainty in the their mind as to what they’re looking at, e.g., a photo, a drawing, a page from a book, a reproduction of a 19th century painting, etc. This uncertainty reflects my own when faced with the landscape and my knowledge of previous landscape painting, and my need to respond to it somehow but unsure how to proceed.

I create drawings which are highly detailed and are often mistaken for photographs but they are actually pencil drawings. Some of the drawings are masquerading as illustrations from a book, and have white space around them and a ‘plate no.’ and ‘title’ added below which are taken from famous Impressionist paintings. This is because I want to contrast them to plein air painting as exemplified by the impressionists, and make a landscape picture that seems far removed from that way of working, i.e., something done indoors and without the actual view in front of me. This is not because I don't like the impressionists or painting outdoors but because I don't believe there is any one correct way of working from reality, there's just different ways.

Some of them have missing patches and areas with interference which I see as reflecting the impossibility of capturing, or pinning down the transience of nature, and I use photographs as studies for the drawings to reflect our disconnection from the natural world, and our increasing reliance on technology.


'Unoccupied' spray painted abstract pictureAs an abstract painter I work in acrylic on canvas or paper, and sometime watercolour on paper. These pictures are colourful and tranquil and, because they are painted with an airbrush, can have a 'digital' look. This is deceptive however, because they are painted in an improvised, ad-hoc way, and undergo many re-paintings and revisions, reflecting my concerns with balancing the formal elements in a traditional abstract-art way, i.e., concerns regarding colour, tone, line and rhythm.

(Click to read more about abstract art...)

My abstract work can be divided into two main areas of interest, which are often combined: (1) Making paintings that look like out-of-focus photographs,'Recovery' spray painted abstract picture e.g., 'Unoccupied' (above). I sometimes incorporate elements which look like the result of a faulty printing process - parts where the ink, or one colour, hasn't printed correctly, e.g., 'Recovery' (left).'Van Hire' spray painted abstract picture

(2) Using a variety of techniques and building them up into compositions often inspired by natural forms, or things and images noticed in the media, e.g., 'Van Hire' (right), or 'Overstock' (below left).


Unlike photographs which always refer to something else out in the real world - a face, landscape etc., my out-of-focus pictures refer to nothing outside the picture because they are just made up. Because of this I see them as being 'Overstock' air brushed abstract paintingempty (or 'lost'). I want this to represent what I see as our own unsupported, 'groundless' nature, a nature not given to us but one that we create ourselves, i.e. we create our own meanings and purposes in life. In this way its possible to see ourselves as being incomplete or imperfect, and because of this as having an urge to complete ourselves.

Within the contrasting-pattern pictures I mean to reflect the immense variety of media, sign-systems and landscapes that we encounter in our everyday lives.

Within my work, as well as wanting to make a formally attractive, well-balanced image, I want to blur the boundaries between a number of things:

- representation and abstraction. I do this by, firstly, using a traditional style (abstract painting) and then subverting it by painting images that aren't supposed to be allowed within that genre, i.e. 'photographic' looking images with a trompe l'oeil representation of depth.

- the mechanical and the hand-crafted, (or, deliberation and improvisation), I do this by having an unplanned, open way of working and an end result that looks machine-made as if by a camera or computer.


I actually use a machine instead of a brush to paint my pictures - an airbrush - and spray paint onto canvas or paper. When painting a picture to look photographic I mostly use only 3 colours to emulate the photographic process: red, yellow and blue - plus black and white.


The titles come from various sources, most of which have nothing to do with the meaning of the picture. Sometimes they are from things that happen in my everyday life, such as working in a bookshop, or from some music or films I like; and sometimes they do suggest the pictures subject matter, e.g., moving to Diss in Norfolk I painted 'Disappearance' suggesting both my appearance in Diss and the lack of an external reference for the picture - (I have painted several pictures with 'Dis-' in the title).