I enjoy the historic and traditional technique of painting on vellum (calfskin), a method used for making illuminated manuscripts from medieval times onward. It facilitates my own interpretation of my deep love of nature, wildlife and Northern heritage, as well as the patterns I believe are fundamental to existence.
The vivid colour and design in my work acknowledge the eternal microcosms found throughout the universe, from the smallest structures in nature to the celestial galaxies and beyond. It is also inspired by the patterns and layout of Anglo-Saxon manuscripts, particularly the large and decorative ‘carpet’ pages that often feature at the beginning of the text or opening of a work.
Painting is how I share what I find incredibly exciting – that nature is existence – and all existing things, organic and inanimate, are formed from the same building blocks of atoms (which in turn are made from even smaller particles). I believe that humans have recognised and acknowledged these patterns since time immemorial throughout our world. I enjoy starting from a vague idea, then instinct takes me into worlds I never knew were there and which I find entrancing. When I share my worlds with the onlooker, I feel a great sense of connection and achievement and this gives me great pleasure.