I trained in the early 1960's at Camberwell School of Art, London, as a painter and printmaker. My early influences were Cezanne and Braque. At college I made few attempts to paint naturalistically, preferring the order of straight lines, shallow space and the interaction of colour. Eventually all signs of the familiar disappeared; the colours became brighter and the patterned lines of the image were stacked, made circular, folded and spiralled. The pictures were shaped, emblematic and spatially ambiguous, appearing both flat and three dimensional.
In time the hard edge abstraction and "pop" colour gave way to a more figurative image. The pictorial flatness was retained in the relationship of shapes, forms and colours in several series of paintings based on shop windows, cameras and models and the seaside town of Aldeburgh. The latter series was created in a mix of materials, including cardboard, rope, wood, metal and found objects,and involved a brief return to abstraction with the emphasis on the painted surface and the use of stencilled shapes.
The more recent work has been about places visited such as Russia, Italy and New Zealand and is a synthesis of memories rather than portraits of actual places. Perhaps coinciding with a return to printmaking, the paintings explore surface pattern and texture developed from overlays of shapes where the images are overtly suggested through subtlety of colour and tone.