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Poised before Troy, 1998.
Water
Colour, 25x20cm. Not shown. Retained. The approach was that
described under 'Free Fall Manoeuvre, 1998'. A horse - all rather
'wooden' and a trifle deceptive? |
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Watchers at Dawn, 1999.
Water Colour,
c27x24cm. Not shown. Retained. The approach was that described
under 'Free Fall Manoeuvre, 1998' and is one of the last of
the present series. It looks ahead to new work - best shown
perhaps in 'Millennial Oak, 2000' |
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Ali Baba's Cave, 1998.
Oil on canvas,
c.71x53 cm. Not shown. Sold. Present location: Part Lane, Riseley.
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Fractal Cairn,
1998 |
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Watchers in the Night, 2000.
Oil on canvas, 89x73cm. Exhibited: Alchemy Gallery, EC1R, ('Types and Symbols', 10th-27th April, 2000) and Guildhall Gallery, Winchester, ('Structures of the Mind' 10-27th Aug.,2001). Framed. Retained. |
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Vulcan at His Forge, 1999.
Water Colour 28x20cm. Framed. Not shown. Retained. As with many earlier water colours (cf. 'Sanctus, 1978') the subject and title are suggested by a process of 'formal free association'. This Vulcan is not only lame but appears to have lost his legs altogether. The memory of machine tools and their interlocking parts comes to mind. Whether presided over by Vulcan or not, we might think of relentless industry and perhaps of Harold Wilson's ' White-Hot Heat of Technology' |
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Not More Circles,!
Oil on canvas 48x66 cm. Exhibited;Guildhall Gallery, Winchester, ('Structures of the Mind' 10-27th Aug.,2001). Sold. Present location Orpington, Kent. An exercise in confusing trompe l'oeil and reflecting the then current talk about 'crop circles'. Deception is at the heart of it. |
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Reconstruction Reading Concert Hall (3), 1998.
Oil on canvas, 65x47cm. Exhibited: Guildhall Gallery, Winchester, ('Structures of the Mind' 10-27th Aug.,2001) One of many paintings done under the auspices of Reading Borough Council and The Reading Guild of Artists. The present painter produced four related works. They were all coolly received by fellow members of the RGA. |
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'Now the Green Blade Riseth', Easter, 2006.
Oil on canvas, 61x45 cm. Not shown. Retained. The image was developed from a water colour - itself the product of 'free association'. Just prior to starting work a rusted and ancient padlock was found in a nearby field - its secretive moving parts clogged 'beyond redemption' - while the field itself was fresh with new life. The title is the first line of an Easter hymn and one may think of the stone rolled from an empty tomb. The egg shapes are rich in the symbolism of rebirth too. |
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Lodor Falls, Derwent Water, 2004.
Oil on canvas, 61x45cm. Not shown. Framed. Retained. One of four oils (and one water colour) based on photograps taken of the scene on location. No doubt ever changing, the place made a deep impression when visited in 1996. |
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The Pond, Riseley Common, 2006.
Oil on canvas, , 33x44cm. Not shown, Retained, Painted on location in March. The image was adapted as an etching which formed the basis of the Spencer Christmas Card, 2006.The pond now forms part of a 2.2 ha. nature reserve - a site initiated by seventeen residents in 2001. Two of those involved (who live less than 25 m. away) have tended the pond regularly - keeping down the weeds that discourage some aspects of the wild life. |
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Roman Ford, Farley Hill, 2004.
Oil on canvas 61x45 cm. Framed. Not shown. Retained. Based on a water colour (painted on location in Jan. 04). The squares were not only an aid in 'scaling up' but also in retaining the original balance of colour and tonality. The preponderance of green in this mid-winter picture is due to ivy. Otherwise known as 'Thatchers Ford' this crossing over the Blackwater may have been used in Roman times and appears to form part of what the Saxons called 'The Devil's Highway' - the Roman Road from Silchester to London. |
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Jurassic Coast (2), 2006.
Oil on canvas, 61x45 cm. Framed. Not shown. Retained. The image appears to revert to the linearity seen in earlier works (cf. 'Light Coming Through, 1964' ) but here there is more transparency. As in the earlier 'Jurassic Coast (2003)' the fusion of sea shells and an ancient coastline is central to a mystical theme. |
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Ararat Revisited, 2006.
Oil on canvas, 61x45cm. Framed. Not shown. Retained. Ararat was the place where Noah's Ark made landfall. A riot of forms suggest a bursting flower but also ship forms, a rainbow and a wooden deer. So many of our memories of Noah and his Ark derive from those wooden toys that once formed part of many children's first religious education. The subject: Freshness and Renewed Hope. |
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Thatchers Ford, 2006.
Oil on canvas, 61x45 cm. Framed. Not shown. Retained. Adapted from a water colour (23x30 cm., Feb. 06). Traces of the squaring up system used in the transfer process have been retained. These rectillinear features are thought to emphasise structure,something present in nature and longed for in the human psyche. |
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Memory of Dorset Quarry, 2006.
Oil on canvas, 61x45cm. Framed. Not shown. Retained. The Langton Maltravers Museum (Dorset) provided some of the momentum here, as did several walks along the nearby cliffs - not least those that look down on the 'Dancing Ledge'. The picture is as much about the history of quarrying for 'Purbeck marble' and other, now virtually exhausted, Dorset limestones. The giant fissures seen in overhanging rocks made a deep impression. |
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Windsor Castle from the Brocas, 2007.
Oil on canvas,39x59 cm. Painted on location and from photographs (St George's Chapel is presently masked by scaffolding) . Not shown. Commissioned by a recently discovered relative, whose closest tie is an ancestor born in 1762(!). The picture will celebrate Gordon and Susanne's Ruby Wedding' in July 2007. There is much pleasure in returning to the quest for verisimilitude as there is in discovering hitherto unknown cousins. |
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Self Portrait, March, 2007.
Rotring pen on paper, c.26x16 cm., A mirror's lateral inversion plagues all would be self -portraitists. It is overcome here by using a photoshop 'Flip Horizontal' instruction. Thus the original drawing (which exists) looks passable only to the subject. |
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Suspended Architecture, 2007.
Oil on canvas, 61x45cm. Framed. Not shown. Retained. Based on a water colour, 30x22 cm. Old buildings may be hazardous. Walls may lack visible support and gaps between floors (where stairs ought to be!) often look perilous. But then there are the 'many mansions' familiar from scripture - and reaching them may also pose a problem. |
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Digging up the Past, 2007.
Oil on canvas, 61x46cm. Framed. Not shown. Retained. Developed from a water colour (30x22) produced by 'free association'. Cubist and Futurist overtones are half regretted - but their appearance may be one of the reasons behind the title. Otherwise the hints of a shovel , broken pottery and maternal nurture might seem oddly comforting. |
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Wind of Change, 2007.
Oil on canvas, 61x24cm. Framed. Retained. Developed from a water colour (30x23, April, 2007). Has phantasy gone too far here? Not shown (advisedly?). |
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| Copy of Oil, 61 x 46, Coastal Folley. |
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Jurassic Coast (1) 2003.
Oil on canvas, 61x45cm. Not shown. Retained. As with several other pictures (cf. Fractal Cairn, 1998') the image is based on four colours repeated in a rhythmic sequence over 48 squares. A synthesis between shells and wave forms. |
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Sea and Shore, 1999.
Oil on canvas, 52x72cm. Framed. Exhibited: Alchemy Gallery, EC1R, ('Types and Symbols',10th-27th April, 2000) and Guildhall Gallery, Winchester, ('Structures of the Mind' 10-27th Aug.,2001). The image is based on four colours, each in the shape of a lozenge and repeated in a rhythmic sequence. Retained. |
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Signal Station.
Oil on canvas, 76x45 cm. Not shown. Retained. Very freely based on a memory of Lyme Regis, Dorset. Some of Southern England's coastline is shored up by massive blocks of concrete. Here these are interspersed with grass-crowned chalk cliffs. Man has made use of the environment, much as do sea birds. |
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Precarious Balance, 2007.
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Looking Ahead, 2007.
Water Colour 30.5x22.8 cm. |
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Rock Climb Triptych, 2008.
Three Water Colours, each c.27x21cm, Framed. Retained. A group selected from many similar images produced over a period of four years. |
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Earth's Crust, 2006.
Oil on Canvas, 61x46 cm., Not Shown, Retained, Framed |
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| Easter Garden. |
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Toe Bone to Heel Bone, 1999.
Oil, 71x53, cm. Exhibited: Alchemy Gallery, EC1R, ('Types and Symbols', 10th-27th April, 2000) and Guildhall Gallery, Winchester, ('Structures of the Mind' 10-27th Aug.,2001). Framed. Retained. |
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Holy Thorn, Glastonbury, 2006.
Oil on canvas, 61x45cm. Framed. Not shown. Retained. Developed from a water colour (30x22 cm.,) where the forms and colours were the result of 'free association'. It seemed to suggest an act of planting set before a steep hill - Glastonbury Tor perhaps. The legend of Joseph of Arimathea's landing in England came to mind. |
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Down to the Sea, 2002.
Colour Wood Block Print. No3 from Edition of 20. One print sold at Myeloma Awareness Week Art Exhibition, June 2006, Mounted and Framed. |
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Millennial Oak, 2000.
Oil on Canvas, 71x53 cm. Exhibited: Alchemy Gallery, EC1R, ('Types and Symbols', 10th-27th April, 2000) and Guildhall Gallery, Winchester, ('Structures of the Mind' 10-27th Aug.,2001). Sold. Present location; Moorside, Part Lane, Riseley, Berks. |
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Sculptors' Christmas, 1999.
Oil, 63x48cm. Exhibited: Alchemy Gallery, EC1R, ('Types and Symbols', 10th-27th April, 2000) and Guildhall Gallery, Winchester, ('Structures of the Mind' 10-27th Aug.,2001). Sold. Present location: Bound Oak, Part Lane, Riseley, Berks. As with 'Fractal Cairn, 1998' the image is based on four colours repeated in a rhythmic sequence and distributed over 48 squares. Here however man makes an entrance in time and space. |
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For St Barbara, 1998.
Oil, 71x53cm. Exhibited: Alchemy Gallery, EC1R, ('Types and Symbols', 10th-27th April, 2000) and Guildhall Gallery, Winchester, ('Structures of the Mind' 10-27th Aug.,2001). Sold. Present Location: Moorside, Part Lane, Riseley, Berks. St Barbara is associated with towers, especially that from which she is said to have made a miraculous escape. |
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Came the Dawn, 1998.
Oil, Exhibited: Alchemy Gallery, EC1R, ('Types and Symbols', 10th-27th April, 2000) and Guildhall Gallery, Winchester, ('Structures of the Mind' 10-27th Aug.,2001). Retained. Framed. As with 'Fractal Cairn, 1998' the image is based on four colours repeated in a rhythmic sequence and distributed over 48 squares.res. |
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Oasis, 1998.
Oil on canvas, Exhibited: Alchemy Gallery, EC1R, ('Types and Symbols', 10th-27th April, 2000). Sold. Present Location: Hampstead, London N1 |
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Stone Quarry, 2001.
Oil on canvas, 63x48cm. Exhibited Framed. Sold. Guildhall Gallery, Winchester, ('Structures of the Mind' 10-27th Aug.,2001). Present Location: Epsom, Surrey |
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