Thursday, 4 December 2008

Made in New Mills - Saturday 6 December

Made in New Mills
Where else could you view or buy original pieces of art, craft and jewellery for Christmas presents and at the same time listen to Flamenco music played on a guitar whilst relaxing with a nice drink - only in New Mills !

This Saturday between 10:30am and 3:30pm at the Providence United Reform Church, Mellor Road, New Mills myself and a group of local artists will be exhibiting our work so come along and say hello.

Monday, 10 November 2008

Drawing Stonehenge - Whitworth Gallery

I've recently attended an evening lecture at Whitworth Gallery which links in with an ongoing exhibition which is on until 23 December - it was a fantastic insight into Mark Anstees work at Stonehenge.

In the past few years the biggest ever archaeological investigation of the Stonehenge landscape has been taking place. The chance to witness landmarks like this uncovered comes once in a lifetime, if at all. Last year six artists went to Stonehenge to witness this special event. Mark Anstee, Rebecca Davies, Leo Duff, Brian Fay, Janet Hodgson and Julia Midgley worked alongside archaeologists on the excavations. They researched how archaeologists drew their discoveries and recorded the spectacle of the dig - its processes, people, tools and finds.

While the exhibition is on show, the artists will be returning to Stonehenge to work on this year's dig. To find out what happens go to:

This project has been co-ordinated by Helen Wickstead and funded by the Caroline Humby-Teck Trust

Saturday, 8 November 2008

Putting on the Glitz - Whitworth Gallery

Its not often I get to run shoulders with Laurence Llewellyn Bowen so I was delighted to get an invite to last nights 'Putting on the Glitz' at The Whitworth Art Gallery in Manchester.

With a great intro from the flamboyant king of the cuffs (only small cuffs last night though) it is a wonderful opportunity to view wallpapers and coverings with that extra something

Traditionally, wallcoverings incorporating precious metals could only be afforded by the wealthy. For those aspiring to wealth, such luxury was highly desirable. Putting on The Glitz explores how this desire has been (and can still be) satisfied, both by the real thing and by extremely effective imitations.

Selected from the Whitworth's collection, this exhibition features luxurious 18th century decorated leather, 19th century Japanese and French imitations, foils and other metallic finishes from the 1960s/70s, along with contemporary jewelled patterns that our ancestors might have envied. On show, together with fabulous new designs, are samples of gold and silver leaf, and other metals used in the manufacture of 21st century wallcoverings.

Indulging our appetite for glamour, this exhibition shows that glitz is no longer only the preserve of the well-off.

Thursday, 6 November 2008


Year 5, St Peters RC Primary School, Stalybridge

Art Workshops for 2009

Drawing is Fun.....KS2
Fast paced experimental drawing workshop to boost confidence and explore creativity.

Hats off to Breugel......KS1
The old ones are the best. Breugel’s 16th century “Wedding Feast” is the inspiration for this collage session with results you can wear home.

Matisse’s Musical Collage.......KS2
Combine art and music, explore opposites and improve cutting skills. Let “Jazz” inspire your stunning artwork.

The Magic of Monoprints or Funny Fruity Faces......KS1
A choice of printmaking techniques, oil pastel monoprints with results like magic, or healthy eating block prints inspired by Archimboldo’s “Seasons”.

Something more exotic......KS1 and KS2
Inspirational designs from India, Africa or The Pacific Islands. Based around textiles. Try
Y5 St Peters RC Primary School, Stalybridge
batik, tie dye, silk painting, applique and other techniques to produce beautiful banners to adorn your school.

Transformations - Recycling at its most beautiful......KS1 and KS2
The eco-schools dream, transform pre-used materials like carrier bags, envelopes, magazines and cereal boxes into wonderful artworks. Create handmade books, polyfused banners, mosaic tiles and quirky prints......all from rubbish.

New for 2009 - Cross curricular workshops complete with teachers notes.

Ancient Egyptians.
A choice of 4 Egyptian themed workshops using a variety of materials from re-cycled to dazzling metallics. All result in beautiful artifacts to display in your classroom.

Please phone or email Amanda for more information:
P. 01663 742204 M. 07790070897 E.


The Art of taking used plastic carrier bags, bin liners and other throwaway plastic packaging, carefully creating it into balls of plastic wool and then knitting.

Once you have knitted your Art heat is applied to develop wonderful textures which along with the various colours from the bags creates unique pieces of Art.

Tuesday, 4 November 2008

Arts Council England creates new independent organisation

Creative Partnerships - Arts Council England's successful creativity programme for schools - is set to become an independent organisation.

The programme, which develops young people's creativity, has been developed and managed by Arts Council England since it began in 2002. Due to the huge success of Creative Partnerships the Arts Council has decided that its future is best delivered through a new independent organisation - Creativity, Culture and Education (CCE).
The launch of the new organisation will be officially announced in a lecture given by Arts Council England Chief Executive, Alan Davey tonight (Monday 3 November) at the Royal Society of Arts.

Creative Partnerships has already worked with more than 750,000 young people and works intensively with 2,000 schools across England. Independent studies show that schools that work with Creative Partnerships improve their GCSE results faster, and that the scheme engages parents in their children's learning.

CCE will receive more than £75 million from Arts Council England between April 2009 - March 2011, the largest single grant in that two year period. The new organisation will have its headquarters in Newcastle, where the cultural renaissance of the North East - led by such organisations as The Sage Gateshead, Customs House, Tyne and Wear Museums, Live Theatre, BALTIC and MIMA, all with impressive education and learning programmes of their own - has created the perfect environment for the new national agency to grow and thrive.

"I am delighted that the Arts Council's largest funded organisation will be based in Newcastle," said Alan Davey, Chief Executive, Arts Council England. "Creative Partnerships was an audacious idea that has become a phenomenal success. The Arts Council has nurtured that success and it is now a natural progression for it to be run by an independent organisation."
"This independence will mean that Creativity, Culture and Education can grow to its full potential and even more young people can benefit from creativity in their lives."
"The Arts Council will make a significant investment in CCE over the next two years and our ambition is that this will lead to lifelong engagement with the arts for the young people involved."

Sir Christopher Frayling, Chairman, Arts Council England said: "Creative Partnerships has been one of the great achievements in arts and education over the last ten years. The passion and determination of the people involved has made the project hugely successful, and their efforts have touched young people's lives right across the country. Schools and artists have never been closer together. This has been such a good idea".

Paul Roberts OBE, Chairman, CCE, said: "Arts Council England's funding will allow us to bring creative professionals into the classroom to inspire young people and to raise their aspirations and achievements. As well as helping to raise education standards, creative learning helps young people develop the skills demanded by today's employers: like team-working, networking and confidence in communication."

CCE will continue to contribute to the Arts Council's commitment to work with children and young people and ensure that the arts are central to their lives. It will run alongside projects such as Artsmark, Arts Award, Youth Dance and Youth Music, which are all instrumental in helping the Arts Council to achieve its mission of great art for everyone.

Thursday, 30 October 2008

Cloth and Culture Now - Whitworth Gallery

This major exhibition at the Whitworth Art Gallery brings together work by leading contemporary textile artists from Estonia, Finland, Japan, Latvia, Lithuania and the UK.

Textiles have played an important role in the cultural identities of these countries and the artists featured draw on those histories and traditions to produce inspiring new work.
Traditional meets modern as techniques such as tapestry, knitting and embroidery appear alongside newer technologies such as digital print, photography and fibre optics. Look out for an enormous range of materials too. You will find traditional fibre alongside bamboo, lead, paper, rusted metal and even bin liners!

The exhibition aims to examine textile as both a global language and as a medium that can express a sense of local and regional identity. cloth & culture NOW is accompanied by a beautifully illustrated catalogue, available from our Gallery Shop.

Cloth & Culture NOW is organised by the Sainsbury Centre for Visual Arts at the University of East Anglia and curated by Lesley Millar, Professor of Textile Culture, University College for the Creative Arts .

View items appearing in this exhibition

Sunday, 19 October 2008

Macclesfield College - Creative Arts for Employment

What do I study?

The course aims to provide students with a broad understanding of contemporary creative arts within a vocational context. It puts a special emphasis on the acquisition of skills in contemporary fine art disciplines such as: painting, drawing, printmaking, sculpture, installation, photography, digital media and contextual studies. It is both practice-based and work-based and aims to develop your creative potential as an individual and as a collaborator preparing you for employment or self-employment.Vocational skills such as entrepreneurial skills and the ability to reflect upon your own learning will be developed through the use of reflective journals and self/peer assessment. You will be encouraged to work collaboratively and develop the appropriate interpersonal skills for the creative industries.

What are the entry requirements?

You will be 18 or over with a level 3 qualification and have successfully completed a Diploma Foundation Studies course or have equivalentvocational experience/experiential learning.

What are my career opportunities?

On successful completion of this Foundation Degree, you may wish to progress to employment or self-employment as a Fine Art practitioner, a community based artist or a technical assistant. Alternatively, you may wish to undertake further study which will enable you to progress in related areas such as teaching and curating. This Foundation Degree also provides a direct progression route to a BA (Honours) Degree at MMU.

Friday, 17 October 2008

Press release

Art and Business go hand in hand

Artists exhibition at Macclesfield Library from Monday 27 October.

Macclesfield, 17 October 2008:
As part of the final year of the Foundation Degree in ‘Creative Arts for Employment’ the students of Macclesfield College will be exhibiting their work at Macclesfield Library from Monday 27 Saturday 1 November

Macclesfield College Business tutor Mandy Orton said “This is an ideal showcase for the students, to display a variety of contemporary art in the town centre. I will be looking for something exciting myself as I have been searching for a piece of original artwork for my home”.

Entry to the exhibition is free and will include works in ceramics, print making, painting and textiles. Exhibits from the show will be for sale.

This will be the first graduation group for the course which combines contemporary art and business practices. On completion of the course students have the option of taking one further years study at University to gain a BA (hons) degree.

Tuesday, 7 October 2008

When is a yurt not a yurt ?

... when its a camera obscura !

As part of New Mills Festival a 16ft Yurt was turned into a camera obscura for the day. Sited in High Lea Park the Yurt was made 'light tight' (as dark as possible) with the 'pin hole' pointing towards The Hall to project an amazing image inside the Yurt.
The Hall was about 60 metres away from the Yurt and the image projected although upside down was very clear.

The camera obscura (Lat. dark chamber) was an optical device used in drawing, and one of the ancestral threads leading to the invention of photography. In English, today's photographic devices are still known as "cameras".
The principle of the camera obscura can be demonstrated with a rudimentary type, just a box (which may be room-sized, or even hangar sized) with a hole in one side, (see pinhole camera for construction details). Light from only one part of a scene will pass through the hole and strike a specific part of the back wall. The projection is made on paper on which an artist can then copy the image. The advantage of this technique is that the perspective is accurate, thus greatly increasing the realism of the image.
With this simple do-it-yourself apparatus, the image is always upside-down. By using mirrors, as in the 18th century overhead version (illustrated in the Discovery and Origins section below), it is also possible to project a right-side-up image. Another more portable type, is a box with an angled mirror projecting onto tracing paper placed on the glass top, the image upright as viewed from the back.

As a pinhole is made smaller, the image gets sharper, but the light-sensitivity decreases. With too small a pinhole the sharpness again becomes worse due to diffraction. Practical camerae obscurae use a lens rather than a pinhole because it allows a larger aperture, giving a usable brightness while maintaining focus.

Tuesday, 30 September 2008

Some inspiration - Marrakesh

Well just after you've had a three week holiday in France in August with my family and your gearing yourself up to get back to work and college what you really need is some sunshine and inspiration.

With this in mind I planned five days in Marrakesh at the beginning of September with my sister Emma - for years I have read about Marrakesh and how it has inspired artists through the ages and how it was such a fabulous place to visit.

The people, the food, architecture, markets the vibrant earthy colours all wonderful and this has all given me so many ideas for work that i cant wait to get started.

Thursday, 26 June 2008

What makes Ophelia such a popular girl. ?

The prolific work of the godfather of British Pop Art was recently celebrated at Tate Liverpool in a major Peter Blake retrospective. One of the paintings amongst this huge collection featured a young girl staring out into the eyes of the viewer, standing hip-deep in murky water, her clothing torn to reveal a breast, her hand outstretched offering a bunch of distressed flower stems. Is the girl asking for help? If so the help never comes as the title of this haunting image reveals the girl to be Ophelia, the tragic heroine of Shakespeare’s Hamlet. Blake painted his Ophelia whilst a member of the Brotherhood of Ruralists, a group of artists he founded who took their inspiration from the spirit of the countryside. His work during this period revealed a fascination with the Victorian fondness of mysticism and nature. When comparing this to his earlier work Blake says “the cast is the same, as the years go by they play different parts. A girl might be a pin up in the 60’s, the 70’s she would have become Titania or Ophelia and so on”.

However, striking as Blake’s Ophelia may be she is neither one of the best known paintings by him or of her. The death of Ophelia has been portrayed by numerous artists over a period of at least four centuries. Probably the most famous being the version by Sir John Everett Millais from 1851 which depicts Ophelia in a dream-like state, surrounded by flowers, floating down the river to her imminent death. Both paintings depict the same scene, showing Ophelia’s last few moments of life, mad with grief after her father’s murder by her lover, Hamlet, she slips whilst picking flowers and falls into a stream where she allows herself to die. In the play her death is not witnessed by the audience but related through a powerful speech from Queen Gertrude* (widow of the dead King Hamlet), this could be a reason for so many artists choosing to depict the scene as it is purely reliant on the imagination, the drama of the speech being relayed though visual rather than performance art.
Millais was a fashionable and technically brilliant Victorian painter and co-founder of the Pre-Raphaelite brotherhood which sought to emulate artists from an earlier time period than Raphael, the 16th century renaissance master. Millais’ Ophelia was regarded at the time as one of the most accurate and elaborate studies of nature ever made. Although the painting was not well received by everyone; The Times declared “there must be something strangely perverse in the imagination which sources Ophelia in a weedy ditch and robs the drowning struggle of that love-lorn maiden of all pathos and beauty”. Even John Ruskin, usually a great supporter of Millais, was not altogether kind, whilst finding the technique of the painting “exquisite” he expressed grave doubts about Millais’ decision to set it in a surrey landscape: “Why the mischief should you not paint pure nature.....and not that rascally wire-fenced garden-rolled-nursery-maid’s paradise?”

*appendix 1

(Ophelia, Sir John Everett Millais, 1851)

Whatever Ruskin’s thoughts may have been and despite the Danish setting of the play the painting has come to be seen as quintessentially English, set on the banks of the Hogsmill river in Surrey. Ophelia was added later at Millais’ London studio, where the nineteen year old model Elizabeth Siddal posed, fully dressed, in a bathtub of water heated from underneath by oil lamps. Unfortunately when the lamps went out the artist was too engrossed in his work to notice and left Elizabeth lying deathly still in chilly water for hours on end, causing her a severe cold and Millais a hefty doctors bill. However no serious harm was done and Elizabeth went on to marry another Pre-Raphaelite artist, Dante Gabriel Rossetti.
Her pose with arms open and an upwards gaze resembles the traditional portrayal of a saint or martyr but can also be interpreted as erotic. The flowers surrounding the drowning Ophelia correspond to Shakespeare’s description of her garland but also reflect the Victorian interest in the language of flowers, according to which each flower carries a symbolic meaning: the daisy means innocence, the pansy - love in vain, the violet - faithfulness, willow - love forsaken, forget-me-not - memory and the nettle means pain. The prominent red poppy is not mentioned in the Shakespearian text but signifies sleep and death.

According to Elisabeth Bronfen, professor of English and American studies at the University of Zurich, Ophelia has become an icon for femininity in despair. Abandoned by her brother, abused by her lover and manipulated by her father her only way out is an excessive histrionic display of vulnerability. In the Queen’s words Ophelia did not actively choose death, but rather wistfully surrendered herself to the laws of gravity. A breaking twig caused her to fall, and as her garments became heavy with the stream’s water, she was pulled to her muddy grave. Yet for a moment the widespread clothes sustained her while she chanted melodies, as if unaware of her precarious situation. Lying forever on her back in a stream, flowers floating beside her, she is perfected, she will fulfil the destiny others have scripted for her.

In contrast, American literary critic, feminist, and writer on cultural and social issues, Elaine Showalter is concerned that Ophelia has become a symbol of the distraught and hysterical woman in modern culture, a symbol which may be neither entirely accurate nor healthy for women. Ophelia is surrounded by powerful men, her father, brother and lover, all three disappear, Polonius is killed, Laertes leaves and Hamlet abandons her. Conventional theory was that without these three men making decisions for her Ophelia had been driven to madness. Feminist theorists argue that she goes mad with guilt because when Hamlet kills Polonius he has fulfilled her sexual desire to have Hamlet kill her father so that they can be together.

Another theory is that of New Historicism, developed in 1980 primarily through the work of Stephen Greenblatt, this is an approach to literary criticism and theory based on the premise that a literary work should be considered a product of the time, place and circumstances of its composition rather than as an isolated creation. They aim simultaneously to understand the work through its historical context and to understand cultural and intellectual history through literature. New Historicist critics have examined the play in its historical context attempting to piece together its original cultural environment. Their studies focused on the gender system of early modern England pointing to woman’s common trinity of maid, wife, widow, only ‘whore’ is outside this stereotype. In this analysis the essence of Hamlet is the central character’s changed perception of his mother as a whore (because of her failure to remain faithful to Old Hamlet), therefore Hamlet loses faith in all women thus treating Ophelia as a whore also.

(Ophelia, Arthur Hughes, 1852)

Whilst Millais’ famous painting hangs at Tate Britain the Manchester City Art Gallery has its own Ophelia, painted by Arthur Hughes in 1852, and originally displayed at the same time as the Millais. Hughes was only nineteen when he painted his Ophelia who is sitting at the base of an overhanging willow tree (representing her forsaken love) the choice of scene and pose is very similar to the Blake version, but the style and shape of the painting are far more reminiscent of the Millais. Queen Gertrude’s speech is inscribed on the heavy gold frame.
This time period also produced an Ophelia by the French artist Eugene Delacroix more usually associated with powerful revolutionary paintings providing a vivid commentary on the social, intellectual and artistic world of Paris in the first half of the nineteenth century, such as ‘Liberty Leading the People’. In his version of Ophelia he has allowed his romantic spirit to free itself from the stiff classicism that dominated early nineteenth century French art.

(Ophelia, Eugene Delacroix, 1853)

This painting was produced in 1853 and it may appear at first that Delacroix copied Hughes who copied Millais. However these thoughts can be laid to rest as Delacroix’s painting is based on a lithograph produced in 1843 and inspired by an English production of Hamlet that he saw in Paris in 1827. (He also made an earlier version of the painting in 1838.) He was heavily influenced by the play and made a series of thirteen lithographs which went on to influence Ford Madox Brown with his series of drawings for King Lear. So it may well have been Delacroix who inspired Millais and Hughes.

There are, however, significant differences between this painting and its two contemporaries, whilst all the paintings should be about misery, madness and death the other two seem almost inviting and have certain positive associations. The settings are still and enchanted, the flowers so fresh you can almost smell them, the water cool, still and refreshing; whereas the setting here is dark and gloomy, and the water cold and murky with a strong current. Also in the two previous examples Ophelia somehow seems content and secure in her destiny whereas here, whilst still grasping her symbolic flowers with one hand she clings to life with the other, not accepting her destiny and without enough strength to save herself but still desperately hoping to be rescued. The impact of this painting is also heightened by the strong sexual overtones. The picture here seems far more true to life and less fantasised, as if the artist is more personally involved. This could well be because when Delacroix went to the 1927 production of Hamlet he fell instantly in love with Harriet Smithson the actress that played Ophelia and later went on to marry her.
A similar study could be done on another ‘outbreak’ of Ophelia paintings produced around 60 years later. John William Waterhouse, famous for his paintings of classical, historical, and literary subjects produced a beautiful Ophelia in 1910 (his third painting of the subject), an interesting addition to this painting is the two spectators who can be seen on the bridge in the background. Another point of interset is that the model is probably his wife. In the same year W.G. Simmonds produced a watercolour illustration for a copy of Hamlet (now owned by the Huntington library) ‘The Drowning of Ophelia’. Whilst the vacant expression on the face can be compared with Millais’ Ophelia the striking thing about this visualization is the white dress that billows over the water to suggest the wings of an angel.

(Ophelia, John William Waterhouse, 1910)
(The Drowning of Ophelia, W.G. Simmonds, 1910)

Both of these paintings have a very similar style to their Pre-Raphaelite forerunners so it is a refreshing change to look at a pastel drawing produced around 1905 by Odilon Redon, French printmaker, draughtsman and painter. In accordance with Symbolist theories Redon was more interested in exploring the inner psyche than in depicting reality in a straightforward manner. His aim was to find a form of artisitic expression that would inspire introspection and thought on the part of the viewer. His belief in an enchanted inner vision led to the creation of highly imaginative pastels, paintings and lithographs with fantastical subjects representing fragments of dreams. His work became very influential for a group of younger symbolists who called themselves the Nablis.

(Ophelia, Odilon Redon, 1905)

The artistic asprirations of Redon correspond favourably with those of New York photographer Gregory Crewdson, curently living and working in New York. Crewdson treds a fine line between cinema and photography creating single photographs of carefully created scenes using a whole arsenal of film making techniques. He says “I love the experience of cinema - being enveloped in a complete world of anothers imagination. I love the quality of film - how it can capture so richly the colour and light of a scene. And I love photography for what it leaves unsaid, for it is from this that we can start to spin our own imagination.” His images are like incomplete sentences, with little reference to prior events or what may follow. A woman dressed only in a white slip, floats on the surface of the water submerging her living room - a modern day suburban Ophelia (2001) complete with settee and out-of-date wallpaper patterns. There are no flowers here, except possibly in the wallpaper design but they have been repaced with the sysbols of a modern day American suburban housewife, bringing Ophelia into the twenty-first century.

(Untitled (Ophelia), Gregory Crewdson, 2001)

So far all these Ophelias have been produced by male artists, only one female artist has appeared, Annie Ovenden, who like Blake was a member of the Brotherhood of Ruralists. Her Ophelia (1979) was created for display in their exhibtion held in 1980 which was themed on Ophelia. Presumably Blake’s version would have been shown at the same exhibition along with several more Ophelias of the time. The Pre-Raphaelites were a clear influence on the Ruralists and Ovendens painting might be regarded as paying homage to Millais. The red poppy is extremely prominent in this version.

(Ophelia, Annie Ovenden, 1979)

Artists may have been inspired by each other or by a particular perfomance of the play or by the text itself but always Ophelia seems to be treated with kindness and with a heart-felt longing to keep her alive and beautiful forever in their minds and fantasies. The last words come from Lucinda Hawksley, freelance writer and author of the book ‘Lizzie Siddal: The Tragedy of a Pre-Raphaelite Supermodel’ in an article about Millais’ Ophelia she finishes by saying “Ophelias death throes can be read as a moment of ecstasy. An ecstasy experienced by a woman usually trammelled by the conventions of her society, or of her imagination, who has come to regard her existence as mere drudgery, and who has finally found freedom.”

Wednesday, 18 June 2008

Derbyshire Open Arts

Well for several weeks I couldn't decide if I should join this years Open Arts exhibition and then a gentle push by my partner Sean and and a last minute scramble to fill in all the relevant paper work and lo and behold I was in !

Well that was the easy bit. The exhibition as the title says is Derbyshire wide and enables artists to open up their homes and studios to the public for the May Bank Holiday weekend.

It s been a huge success since it started and I was really excited at the prospect.

The house has undergone some serious renovation in the last few months and was just about ready in time. I was fortunate enough to have plenty of wall space in which to show my work and I also invited two artists form college to show some of theirs as well.

We even decided to have a preview evening, which may sound like an excuse to drink wine, but its all part of the exhibition and was enjoyed by all, as was the wine !

The exhibition itself was brilliant with a steady flow of visitors on Saturday and Sunday, several had travelled some distance to view some of the local exhibitors, Monday was very busy, in fact I stopped counting after 70 had come through the door.

Overall it was a great success and twelve of my works were bought which means I have to work even harder to replace these - I even sold my first photograph print, bought for Sir Martin Doughty no less !

One visitor even did a little video of their trip around my home and some other local exhibitors which you can see below.

The experience certainly helped form a business thinking point of view as well - simple things like labelling works properly, cataloging items, visitor books all easily forgotten when showing in other exhibitions, but when you are creating the exhibition in your own home its all down to you.

Tuesday, 17 June 2008

A long time coming

Well if the blog was a long time coming my second post was even longer !

Its been an extremely busy few weeks - with my ongoing college projects, preparation for the
Derbyshire Open Arts event, another exhibition in New Mills Heritage Centre to start thinking about - all that and several school workshops to create and deliver.

More of those two events in separate posts, I need to dash off and finish my final pieces for this years end of year college work which will be on display from tomorrow (18 June) until the middle of next week.

I'm really pleased with the installation I have created at
college, it was a long time in creation but I feel it was worth while - I hope to get some pictures on here shortly.

Tuesday, 29 April 2008

In the beginning

Well who would ever have thought I would have my own blog !

There is so much going on at the moment that I suspect most of the updates will be done verbally and translated to these pages by magic.

More about who I am and what I create later, but in closing this first post I hope you'll all enjoy reading about my life as an artist and perhaps one day come and see some of my work.

"There is magic in finding colour"
Oct 2007
Colograph print, original plate created using found objects from Dungeness shoreline