I cannot look at any view without feeling…and I mean FEELING...what it would be
like to ride across it. I experience a visceral response to a steep hill or a
twisty track. This need to express that lurch of fear and excitement has
informed my work and, in this aspect, I identify strongly with Peter Lanyon and
his impulse to capture the landscape he loved from the bird’s eye view that his
glider gave him. My first paintings were all aerial views, expressly to convey
the ‘velocity’ of the land and my own reaction to it. I had not, at that stage,
seen Peter Lanyon’s glider paintings but a visit to the Courtauld Institute’s
show, ‘Soaring Flight; confirmed for me that he is one of the painters I most
I went on a course focusing on Lanyon’s landscapes at the St Ives School of
Painting, taught by Liz Hough. At first I resisted the collage. It seemed to
take away the ability to express oneself through mark-making, but I quickly
realised what a fabulous tool it is.
new body of work encompasses all of the experience and techniques I have
accumulated over the past seven years. The collage plays many roles. Sometimes
it represents the thing itself, sometimes the colour or the texture or the
form. Sometimes it’s just there to be playful.
paint the loop of streets or the sweep of a bay, I am feeling it, physically.
The red lines are expressions of energy…maybe the swoop of a gull or the whoosh
of a jet. Maybe it’s just the trace of the viewer’s gaze. Somehow, these lines
and arcs need to be there. In the large Cobb painting, they seem, to me, to
anchor the scene somehow.
you enjoy these paintings and that you might feel you want to own one. They are
the product of much effort and time but are, ultimately, the result of a deep
love for two of the most beautiful places in this gorgeous countryside of ours.