News and observations


Waiting for Uber My watercolour 'Waiting for Uber' was selected for the University of Cambridge's national exhibition, the Cambridge Summer Open 2019.
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Details of the exhibition are here.

To avoid the problems often associated with the behaviour of normal papers when wet while working on larger pieces, I instead used for the first time a Hahnemuehle 450 gsm watercolour board and found it to be worth the extra expense. (June 2019)

I have just completed a double self-portrait, Double Self-portrait the planned aquatint etching (zinc) based upon the acrylic study shown below.The two images, positive and negative, while very close in appearance, are not identical in form, as each was hand-worked separately. I have limited this edition to ten copies. (May 2019)

Dawn Watch Dawn Watch For 'Dawn Watch', instead of canvas or a canvas panel, perhaps prompted by familiarity with metal surfaces in printmaking practice I used a grained aluminium panel. This provides total rigidity yet offers a canvas-like texture and tooth. The surface is also virtually indestructible.

While my primary interest lay in the portrait of the police officer, I also found fascinating the effect on the grass of the cold dawn light combined with the artificial glare of the aircraft's landing lights. 'Dawn Watch' is a narrative composition which has allowed me to combine portrait and landscape which I often prefer to having to choose one or the other. (March 2019)

This month I undertook a self-portrait study in Self-portrait (acrylic) acrylic on paper. This will be the basis for an aquatint etching project to be undertaken later in the quarter and is not intended as a finished work. It is the first time that I have addressed this challenge which seems to be something most artists address sooner or later. (January 2019)


Four oil portraits painted from life in Studio 6 at Heatherley's. Work on more general subjects (paintings, drawings and prints) continued throughout the year. (2018)

Three etchings and a gouache painting, all based Ellipses upon sketches made earlier in the year in Northumberland. (October to December 2018)

Fuengirola from Mijas

En plein air sketching (landscape and local life) in Southern Spain. (June 2018)

En plein air landscape sketching Estuary, Alnmouth around Alnmouth in Northumberland. (May 2018)

First lithographs produced on the offset press. (April/May 2018)

Sketching while touring the wineries in the Yarra Valley and pen-and-wash work in Melbourne (people and the city). (January 2018)

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Drawings of city life in Hobart, Tasmania along with some marine sketches at nearby Battery Point and Sandy Bay. (December 2017)

'OK Yah!' (painting - watercolour and gouache) was shown at the Chelsea Life 2017 exhibition. (November 2017)

'Holding' (drypoint print) made it onto Holding the pre-selected short-list for the Royal West of England Academy's 165th Annual Open Exhibition. (September 2017)

Worked en plein air for a week with oils landscape specialist Murray Ince. Some of the work produced can be seen via the 'Galleries' tab. See 'Sketches/Wales'. (July 2017)

'The Third Man' and 'All by myself again', both drypoint All by myself again prints, were shown at the Heatherley's Printmaking Exhibition. (April/May 2017)

My painting, 'Bar - Midday', was selected for the Royal Watercolour Society's exhibition 'Contemporary Watercolour Competition 2017'. The Bankside exhibition ran from March 3rd to March 15th 2017 at Bankside Gallery on the Thames riverfront next to Tate Modern. (March 2017)

A day of two shows encompassed the Paul Nash exhibition at Tate Britain Tate Britain (well worth a visit and comprising an impressive quantity of his work) and the private view of the Heatherley's staff show at Bankside. It is always an interesting experience to view one's tutors' work. What they are doing is rarely what one would expect. We tend to see people solely from the point of view of the role in which we encounter them. (January 2017)

BPP work-day at Tate Britain. Each of us selected three paintings from the collection and produced three sketches/diagrams for each piece to analyse what made it 'work'. One sketch illustrated primarily positioning and lines of direction and movement, one the tonality and one the use of colour and brush-marks. My choices of subject were The Soul of the Soulless City (Christopher Nevinson), Beyond Man's Footsteps (Briton Riviere) and Azalea Garden May 1956 (Patrick Heron). A highly instructive experience, especially as regards composition. (January 2017)

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West End Show, Esher, Surrey (August 2016)

St Julians Bore Place Painters - Summer Exhibition. St Julians Gallery, Sevenoaks, Kent (July - August 2016)

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Double Self-portraitDouble Self-portrait (etching)

Self-portrait (acrylic)Self-portrait (acrylic)

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Fuengirola from MijasFuengirola from Mijas

Estuary, AlnmouthEstuary, Alnmouth

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All by myself againAll by myself again


Tate Britain Tate Britain

St Julians St Julian's



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