Gallery

‘Almost Time’

Bear in Canadian landscape
48” x 30” (120cm x 75cm)
acrylic on canvas
(private collection)
‘Barn Owl’

30” x 17” (76cm x 43cm)
acrylic on paper
(private collection)

‘Right to the Hart’

Deer in birch woodland
60” x 60”
mixed media on wood
(private collection)

‘Two's Company’

Barn Owls
28” x 18”
mixed media on canvas
(private collection)
‘Daylight Robber’

Grey Squirrels
20” x 14”
acrylic on linen
(private collection)
‘Hidden’

Tawny Owl
18” x 15”
mixed media on Italian handmade paper
(private collection)

‘Dreamer’

Canadian Timber Wolf
36” x 20”
acrylic on
Italian handmade paper
(private collection)
‘Wild at Heart’

Scottish Wild Cat
old-grove oak
30” x 18”
acrylic on canvas
(private collection)
‘Guardian’

Timber Wolf
30” x 18”
acrylic on
Italian handmade paper
(private collection)


‘First Flight’ Bald Eagle 18” x 14” watercolour on handmade paper (private collection) Purchased as a gift and presented to, and for auction on behalf of, Great Ormond Street Children's Hospital	‘Out for a Duck’ Red Foxes 30” x 16” watercolour on linen (private collection)	‘Home Alone’ Red Fox cubs 18” x 15” watercolour on handmade paper

While I'm working on a painting I'll often put a frame around it to ‘isolate’ the piece, and better give me an idea of how the colour and design are coming together. I build my paintings with sometimes layer after layer of translucent washes over monochrome under-painting. The frame acts as a statement, by letting me know how far to take certain colours and effects.

When I'm working on a large canvas I'll often leave it, sometimes for weeks, waiting for an idea to develop, or perhaps a certain light one morning to inspire a change to an already completed section… To me, paintings evolve. You should never be rigid enough to deny your instincts.


‘Armistice’ 66” x 38” mixed media on linen (private collection) After a long and turbulent history, the Abbey of Cwm-Hir was finally destroyed after a short siege by parliamentary troops during the revolution that eventually saw Cromwell become Lord Protector. After 500 years they achieved what Henry VIII failed to do, and Owain Glyndŵr before that, along with all the other ‘serious’ history of Britain, particularly in the border country, or ‘marches’. The abbey in ruins. This painting with the abbey set amid swirling mist in isolation from its landscape, reflects perhaps its long isolation during the period of its prosperity.	‘Crusaders’ 58” x 36” mixed media on canvas (private collection) Abbey-Cwm-Hir (‘Abbey in the long valley’) in mid-Wales, and perhaps the resting place for Llewellyn the last true Prince of Wales. The remains of what was once a fine and beautiful Cistercian monastic building, on the scale of Tintern abbey in the Wye valley, stood just a stone,s throw from what was my home and studio for many years. The relationship of the building to the landscape had always fascinated me; its historical significance in a timeless place. I had to introduce the standing stones - somehow they ‘tied’ the medieval to a far older, misty past. This painting is all about light.	‘God Bless Ye Merry Gentlemen’ 40” x 26” mixed media on Italian handmade paper (private collection) ‘The big house’ at Christmas, and children from the local village school - now long gone - prepare to deliver their annual carols for the master and family. In fact the ‘master’ of this particular house had been a benefactor, as many were, to the village school.


‘The Gathering’ 60” x 36” mixed media on canvas (private collection)		‘Misty Morn’ 60” x 36” mixed media on canvas (private collection)

‘Home Before The Storm’ 60” x 36” mixed media on canvas (private collection)


‘Timeless’ - left-hand half 46” x 46” mixed media on linen (private collection)	‘Timeless’ - right-hand half 46” x 46” mixed media on linen (private collection)	‘The Trout Pool’ 60” x 36” mixed media on Italian handmade paper (private collection)
A ‘diptych’ work created to hang either side of an entrance hallway. The painting is effectively two halves of the same landscape.

On commissions

“Painting through someone else's eyes is always fraught with danger. I've worked on large commissions both in size and time scale; six years on one commission. In truth, there are some that I have regretted, more often than not because I've been unable to see the client's dream. With most, they've turned out to be some of my best work. You work harder at looking, and in most cases I draw what is in my mind first for them to see.”