The work happens in series.

Age in the Frame

My interest in the subject of age and becoming older had been developing for some time. At the end of 2018 I was at last in a place where I could explore this as an artist and have chosen to do this through the route of socially engaged artistic practice (see ‘the Current Project’ page for details).  Central to the project are participants’ subjective, lived experiences and views of ageing, and what that means for them, coming as they do from different ages, backgrounds and ethnicities.

See also Current Projects and Recent Posts


Windows and lattices continue the exploration about what is hidden or exposed. They too are a speculation on the lives which are lived behind the façade or are caught up in the lattice.


A series which began with exploring building facades and extended into the Without series. In the images of buildings I, quite literally, see the facades as the face of the building. They enable exploration of ideas about access and what is hidden or revealed by a facade, and are a speculation on the endless human histories and activities which a building has contained over time.  This series includes other subjects: humans, insects, birds, flowerspeeled, built, incised, revealed.

Stop Frame Narratives

In this series of Constructed Paintings, the component layers are pre-painted and then assembled on to a surface. The aim is to invite the viewer to enter a narrative landscape in which a story can unfold, or in which it has already unfolded.  Again I work from the standpoint of a sculptor.  My intention, through the physical manipulation of the formal elements of painting, is to manually direct the viewing of the image, not only with shaped colour, light and space, but via the sequential frames and layering of the shapes. A staged view emerges. These are narrative landscapes of the imagination, their origin is from the narratives in my own life and those heard in the therapy room.

On Being Human

Observations on current social issues: work, youth, age, relationships, class, identity.

Early Paper Works

Early paper – Working in paper began with the question of how to ‘paint’ an image with found, coloured paper and shape, and to understand, as a sculptor, what the difference really is between 2D and 3D images. Two constraints were imposed: to find the colours not make them, and not to cut out and juxtapose ready-made images, as in traditional collage. 


Drawings  –  Drawings of various types have always run alongside the work. Here are some figurative images.