I started painting when I was fourteen, taught by a remarkable teacher in a new South London Comprehensive school, in an art department with ten full and part-time art staff, plus visiting lecturers in anything from stained-glass to off-set litho printing. It was like an art school, and I spent every weekday there, and many weekends and school holidays, until I went to the Slade School of Art aged eighteen. I was encouraged to paint in oils on canvas, and the subject matter was invariably my leafy suburban landscape, semi-abstracted in the manner of Bonnard, Cezanne, Gauguin.
Little has changed. I still prefer to paint all aspects of the natural world, rather than figures, while loving both abstract and figurative painting. At the Slade I could just afford two magazines on a regular basis, Vogue and Scientific American. Scientific American had rather grey and grainy photos of unidentifiable 'things' and I made etchings of them, and I am still painting them, in a sense, fifty years on, because they bewilder and excite me still.
Art Alive, Assembly House, Norwich
Halesworth Gallery, Steeple End, Halesworth, Suffolk
Flying Colours, Assembly House, Norwich
Fisher Theatre, Bungay, Suffolk - one person show
Kings Lynn Art Centre
Salthouse Church (invited artist), Norfolk
Chichester Open, Sussex
Discerning Eye (invited artist), London
Duncan Terrace Gallery, London
Images of Paradise, Harewood House, Yorkshire
Oliver Bevan Gallery - one person show, London
Entanglements and Moments of Being, The Cello Factory, London. A collaboration between a painter and a photographer.
Represented by The Simon Hester Gallery in Leeds, Yorkshire