Like much of my music, my paintings are a response to the living world. Though I do paint in oils from time to time, watercolour remains my favourite medium. This is partly because I enjoy the exactitude and precision that fine brushes offer, but also because I like the challenge of working in a medium that is unforgiving of errors! Painting will always be something that accompanies my work as a composer. I have long been convinced that the arts are more interconnected than may be generally accepted.
Within each painting, I try to capture as many forms of sensing as possible, which is why they are a fusion of representaional as well as abstract marks, and also why I incorporate fragments of musical notation and text too. Above all, I see painting as a map-maker would see maps. They are records of places visited, studied, absorbed and responded to!
Review by the Guardian Art Critic, Merete Bates:
They are “like tiny exquisite icon or nature-maps, but much more. They are illuminated manuscripts - fascinating insights into the mind of a true ‘poet’ of nature”
Work is held in private and public collections in 12 countries.
Commissioned works for BHP Australia; AMP Australia.
Collections in the Universities of Florida, USA; Oxford, Lancaster, UK; Wollongong, Queensland, James Cook, Australia.
Painting commissioned and reproduced by Reader’s Digest Plc.
1974 Park Square Gallery, London UK
1975 Blackpool City Gallery UK
1976 Trion Gallery, London UK
1977 Hunter Gallery, Tennessee USA
1978 Embankment Gallery, London UK
1979 Gallery 351, Chicago USA
1980 Gallerie Lometsch, Kassel Germany
1981 The Glass Factory, Sydney Australia
1982 The Greenhill Gallery, Adelaide Australia
1983 Tynte Gallery, Adelaide Australia
1984 Liverpool City Gallery UK
1988 Christchurch Gallery, Christchurch New Zealand
1991 Kensington Gallery, Adelaide Australia
2001 The Hot Bath Gallery, Bath UK
2001 British Society of Wildlife Artists, Mall Gallery UK
2002 The Art Farm Project, Devon UK