About Me
I studied Visual Art at the University of Wales Aberystwyth 1988-91 specialising in photography and painting and writing my dissertation on John Craxton.
My interest in Neo-romanticism grew after I left college and I began to collect books and catalogues about the movement and these artists.
I moved to London in 1992 and continued to paint while working for MDC Classic Music for 5 years and then the Campaign to Protect Rural England for 9 years.
In 2006 I moved back to the Welsh borders to concentrate on my creative work in some of the most beautiful landscapes in Britain.
In 2009 I moved back to London and have a studio in Brixton.
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When I was sixteen a dragonfly unzipped the landscape in front of me to reveal a vision of the world glowing with energy and life. It was a fleeting glimpse of everything being connected. It filled me with a sense of purpose and power. Through my art I hope to reveal the mystery and spirit that was revealed in those seconds.
The image of the green man began to appear in my work shortly after this experience – composed details of nature making a human face – this image still appears regularly in my work and is the clearest archetypal image demonstrating our interconnectedness with the world around us. My work develops ideas about the relationship of man with the natural world, either with the figure as an integral part of the landscape or being composed of landscape elements.
I identify closely with British neo-romantic artists because to me they found that connection in the rural idyll and the spirit of place. It is when I am immersed in a landscape that I feel most at peace. Where the neo-romantics were escaping from the horrors of war, I am escaping from the fast pace of a modern world where media and technology conspire against quietude and contemplation. But it would be hypocritical to say that I am against these advances – the pastoral idyll still exists in some parts of Britain even where broadband is available. I've just been living in the rolling hills of the mid-Wales/Shropshire borders for 2 years before my move back to London and the vision of Samuel Palmer is alive - the moon rises above sheep fields and the lush vegetation twines darkly in old drovers' lanes.
My “Man on a laptop” images in the landscapes section are the expression of this coexistence of the new world with the old.
My interest in Neo-romanticism grew after I left college and I began to collect books and catalogues about the movement and these artists.
I moved to London in 1992 and continued to paint while working for MDC Classic Music for 5 years and then the Campaign to Protect Rural England for 9 years.
In 2006 I moved back to the Welsh borders to concentrate on my creative work in some of the most beautiful landscapes in Britain.
In 2009 I moved back to London and have a studio in Brixton.
*************************************
When I was sixteen a dragonfly unzipped the landscape in front of me to reveal a vision of the world glowing with energy and life. It was a fleeting glimpse of everything being connected. It filled me with a sense of purpose and power. Through my art I hope to reveal the mystery and spirit that was revealed in those seconds.
The image of the green man began to appear in my work shortly after this experience – composed details of nature making a human face – this image still appears regularly in my work and is the clearest archetypal image demonstrating our interconnectedness with the world around us. My work develops ideas about the relationship of man with the natural world, either with the figure as an integral part of the landscape or being composed of landscape elements.
I identify closely with British neo-romantic artists because to me they found that connection in the rural idyll and the spirit of place. It is when I am immersed in a landscape that I feel most at peace. Where the neo-romantics were escaping from the horrors of war, I am escaping from the fast pace of a modern world where media and technology conspire against quietude and contemplation. But it would be hypocritical to say that I am against these advances – the pastoral idyll still exists in some parts of Britain even where broadband is available. I've just been living in the rolling hills of the mid-Wales/Shropshire borders for 2 years before my move back to London and the vision of Samuel Palmer is alive - the moon rises above sheep fields and the lush vegetation twines darkly in old drovers' lanes.
My “Man on a laptop” images in the landscapes section are the expression of this coexistence of the new world with the old.