Trained in Illustration & lettering at Northampton School of Art (NDD 1961)
Taught art in local schools before resuming a career in graphic design and illustration.
One-time design manager for Odhams Leisure Group. Currently freelance illustrator/printmaker.
Elected Fellow of the Royal Society of Painter-Printmakers in 1984. Council member 1986-90.
Invited to membership of the Society of Wood Engravers in 1984. Chairman 1992-5.
Member of Northampton Town and Country Art Society. President 1987-89.
Exhibited widely throughout Britain and Europe, USA, Australia and China.
Works are held in many private and public collections in Britain and overseas including:
Ashmolean Museum, Oxford
Smithsonian Institute, Washington DC, USA
British Library, London
Fremantle Arts Centre, w Australia
Carnegie Mellon University, Pittsburgh, USA
Tianjin Academy of Fine Art, China
Deutsches Historisches Museum, Berlin
Commissions have included several books for, among others, the Folio Society, and many commercial works. Every other month I produce drawings for The Jackdaw, an art newsletter.
Over the years I have run workshops, given talks and demonstrations at Art in Action, Bankside Gallery, British Library and so forth.
Having had a deeply rural upbringing I have a great liking for the land: whether inhabited or not, wild or not; with perhaps a preference for the uninhabited.
I like the sense of continuity the land evokes, of longer rhythms, different priorities. Continuity evidenced by the way marks and traces of previous civilisations are gradually taken back- disused settlements, roads, railways etc being absorbed by the ground upon which they were planted.
The engravings all stem from drawings. Sometimes based on sketches( often very slight) or on fully developed pen and ink or watercolour drawings. The drawing is traced then transferred to the wood block (in reverse), the block is stained ( Quink or similar) to enable the cuts madeby the various tools to show up clearly and facilitate the development of the engraving. In effect the process
becomes a matter of interpretation, a re-drawing by other means, of the original work on paper. In this way the resulting print is a quite new image and not a reproduction, only the basic composition is retained.
On the press further work can be done; by varying the pressure by the addition of slips of paper under or over the block enable certain effects such as aerial perspective can be achieved.
Once satisfactory prints are produced the block can be editioned.