Current work
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Colour motif series 2016 -
Ink on paper These drawings come about by finding repetition, pattern, shape and motif in the natural and built environment and from periods of obsession perhaps with a particular food. Each is assigned a colour that reflects the origin of the design. This is an ongoing series with some designs transferred into printed formats including monoprint, etching and lino cut. More images can be found on the Gallery page. 
Courtesy of Sam Rose Photography
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Untitled (2017)
 Response I (2016)
'Response' collaboration (2016)
Fishing line and sea water on art board A collaboration with photographer Sam Rose led to ‘Talking waves’ - an exhibition at The Bomb Shelter in Beer, Dorset. The collaboration stemmed from a shared interest in the forms, patterns and structures of land and sea-scapes. It is a dynamic and evolving interaction that involves responding to images taken by Sam who then counter-responds. Working from photographs is unusual for me and the view is of course mediated by what Sam has chosen to include in the frame. Together, the works are reflective of a truly authentic collaborative dialogue. 'Talking waves' 2016 at The Bomb Shelter, Beer |
Cut works I, II and III (2015)
Pencil and scalpel cut on art board
These works are the result of my work as an ecologist with a long standing interest in adaptation and questions centred on the presence/absence of rare and protected species. It is inherently easier to confirm presence than to prove absence and these works embody this elusive pursuit.
This series has a grid integrated into the scheme. The grid simultaneously serves to contain the cuts and reflect the notion of being present or being absent. The grid is drawn first with precision. Then cuts are drawn into the grid. Each cell contains a cut – I and II each carry 27,000 cuts. III has 54,000.
This work was shown in The possibility of everything exhibition at CMR, Redruth
Pencil and scalpel cut on art board
These works are the result of my work as an ecologist with a long standing interest in adaptation and questions centred on the presence/absence of rare and protected species. It is inherently easier to confirm presence than to prove absence and these works embody this elusive pursuit.
This series has a grid integrated into the scheme. The grid simultaneously serves to contain the cuts and reflect the notion of being present or being absent. The grid is drawn first with precision. Then cuts are drawn into the grid. Each cell contains a cut – I and II each carry 27,000 cuts. III has 54,000.
This work was shown in The possibility of everything exhibition at CMR, Redruth
Rain (2015)
Arylic and ink on aluminium
Time spent exploring Spanish mountains in long periods of rain led to this work.
The work looks how it felt to be in the rain.
Arylic and ink on aluminium
Time spent exploring Spanish mountains in long periods of rain led to this work.
The work looks how it felt to be in the rain.