My work is developing with each painting, using the
palette knife the textures I create adds an atmospheric
feel to the canvas,I work from black & white photos but
the colours are all there in my imagination...

I continue to work on my series of Grimsby dock scenes, a series of
sculptures using stainless steel banding and also a series of landscape
abstract paintings taken from images of the Grimsby Ice Factory.

Materials tantalise the viewer, provoking recognition yet
requiring closer inspection. My sculptures involve the
metamorphosis of materials which are fascinating, yet
ordinarily overlooked. Elements such as shape, texture,
movement and light are all intrinsic in my work. Whether
I am working with wood, stone or metal, to become engaged
with the material and the process of making is inherent.

My two dimensional work continue to manipulate surface, texture and light. 
Paintings and drawings on canvas, metal and paper layered with oil paint,
graphite and chalks. The process of obscuring and revealing what is
beneath,rubbing and scratching at the surface to convey human emotion,
life and an overriding essence of being within.

My paintings create a partial narrative, giving a sense
or intimation of place without telling an explicit story. 
I attempt to construct environments that loosely play
with architectural shapes and forms. A door or a window
a reminder that there is an internal logic to the way
peoples houses like themselves are revealed.

My aim is to present work that is thoughtful and considered, but ultimately
impartial. The ambiguity of the image allowing the viewers space to
contemplate themes that are explored, and to interpret them according
to their own personal experience; to objects,positions and places with
which you are able to make your own connections and thus to mentally
substitute what is merely hinted.

Human form is the basis of my subject matter, for me,
spills into ideas about who we might ‘be’ - existentially,
historically and physically. Hence portraiture, the figure,
the nude, the ‘trony’ - and a preoccupation with what’s
on the‘inside’ and the ‘outside’.

This latter has eventually lead me to use the creative process and
materials as metaphor,through which I attempt to satisfy who I am when
making the work, whilst leaving the results to say what they will to the viewer.
For me, the importance of the work lies in the making, mark-making, layering,
recording and the formal qualities of why a piece works visually.
On from that its also a manner of notice and acknowledgement of human
time, passage of time, happenings – sometimes specific, but perhaps quite
‘small’ and other times a more general mass or field of something experienced
by all of us, with the individuality of meaning and response lying in the
experience and the eye of the beholder.

As a painter I try not to limit myself to any particular style. 
This intended diversity of my practice comes from the
notion that as a visual artist I believe there are many
ways to view all things.

As part of my recent practice I have been utilising photography and it's
associated technologies as an aid, using the detail captured in fleeting
moments of action and expression, to direct the viewer back to the
reality of an image and thus highlight the paintings illusionary qualities.
In contrast I also work from life to explore the possibilities of human
vision which has its own unique qualities that photography cannot
imitate, to explore the experience of the real and lived existence.

“We are surrounded by objects at all times, among
which we live, work and take our leisure. They indicate
how we live, what we do and who we would like to
think we are.” (Greenhill Hooper, 2000)

The notion of family history has always been intrinsic to my artistic
practice, and it is through this personal association that I mix or place
common domestic objects in anattempt evoke connections to a wider
audience; to trigger a memory or emotion that may relate to the
viewers own past.

I am interested in the experience of the past and restructuring it -
in the alteration of pre-existing media such as old books and texts that
reflect another time and thus how they are seen and experienced now.

My inspiration is Landscape. Transpiring from the
many walks I took as a child and adult along the
unchanged rugged and harsh Northumbrian coast
line near to Lindesfarne. Real images that enable me
to create paintings that allow the viewer to engage with
the isolation and desolate beauty unique to that area.

My intention is to make the viewer aware that in art, as in life,
everything is constantly changing. My paintings reflect my own journey,
exploring the effectsof light on land, sky and water, capturing a moment
in time, a unique and therefore unrepeatable experience. I mainly work
with oils which I find gives me freedom,spontaneity and the honesty
that I need for my paintings to work for me.

The quality of looking into and beneath our own layers
is the aim of my paintings. My objective is for the viewer
to look into the painting not to merely look at it. It is to
seekthe hidden subject while exploring and enjoying
the actuality of the paintings layers.

I like to challenge myself by frequently allowing the flow of the paint to
take it's own direction, to play out into an adventurous chaos. This risk
taking, whilst still maintaining an ultimate goal, creates a fusion of calm
and chaos, a bit of an adrenalin rush.

Currently, I paint landscapes, usually with some element

of water - be it a large expanse or river or small duck
pond - and generally use oils over an acrylic base.
I use a limited palette and endeavour to create pictures
with an abstract feel to them.

Also I make prints using the gicleé process. Source material is taken
from my own pictures and photographs and held digitally on computer.
The images are then manipulated to create visually enhanced pictures
and printed on high quality paper using archive quality inks.

The techniques I use constantly evolve through the adoption of
new ideas and experiment, so next month I may be doing something
completely different!

My paintings are abstract with a hint of realism I take
a subject which is based in the reality of my personal
experience and play with it until I extract my own feelings,
impressions and expressions.

I have lived in Lincolnshire, Oxfordshire and Cornwall all very different places
but it is the sea which most inspires me. The difference in one small segment
of coast can alter dramatically depending on the weather, the time of day or
transient objects.

I am also fascinated by the horizon – a conceptual actuality and a visual illusion
at the same time. It can be hidden from view or totally unbroken. A straight line
caused by the curve of the earth – a line that we can never see over or get close
to – immovable in our vista but movable within ourselves.

Pore is a series of some 300-plus works, derived from
the human face; some of these, the face of the artist herself,
but mostly from those of friends, acquaintances and volunteers
interested in the idea of being a part of an enquiring piece of contemporary art.

As a sponsor, you will receive: A framed, signed drawing developed from studies
and photographs made and taken during sittings. A signed issue full colour print of
any pieces derived from material gathered during sittings (these may be multiple).
Regular updates of the progress of Pore Project. Invites to Private Views and any
events attached to tour venues. YOU may become a sponsor of Pore Project,
and an integral part of a relevant and stimulating piece of art, for only £I50.
At least one sewn and painted piece will be developed from the sittings will
become part of Pore Project.