My work is inspired by the natural world. It is transformative rather than representational, focusing on the rhythms and patterns of nature, and has developed from experimentation with a variety of processes. The importance of process is expressed in the words of artist and teacher Hans Hoffman:

Each expression medium has a nature and life of its own according to which creative impulses are visualised. The artist must not only interpret his experience of nature creatively, but he must be able to translate his feeling for nature into a creative interpretation of the 'expression medium'. To explore the nature of the medium is part of the understanding of nature, as well as part of the process of creation.

My abstract oil on canvas paintings have a calm, peaceful quality. I prepare my canvasses with many layers of sanded primer to provide a suitably smooth working surface, from which evidence of texture has been reduced considerably. The results are subtle evocations of natural phenomena. For me the resolution of the painted surface is an analogy with the constant yet barely perceptible process of growth and development in nature.

I enjoy the work of Bridget Riley, and share her thoughts on how a viewer's eye travels over a canvas:

It should feel caressed and soothed, experience frictions and ruptures, glide and drift. Vision can be arrested, tripped up or pulled back in order to float free again. It encounters reflections, echoes and fugitive flickers which when traced evaporate.

Breaking away from the main body of abstract works, I have recently painted a series of remembered landscapes linking emotions with visual images. Using a similar process to the abstract paintings, I have tried to create atmospheric works that convey a sense of distance or separation.

My works on paper are the results of experiments with combinations of various media. The graphite on paper works are frottages created by fixing a variety of textured materials onto board to simulate earth surfaces, placing a sheet of smooth quality printing paper on top and rubbing the paper with a graphite stick or pencil. The works using ink, watercolour and PVA have been painted, dribbled and occasionally washed away from the paper to create ambiguous images reminiscent of organic forms.

The memory throws up high and dry
A crowd of twisted things;
A twisted branch upon the beach
Eaten smooth, and polished
As if the world gave up
The secret of its skeleton,
Stiff and white.

from 'Rhapsody on a Windy Night', by T.S. Eliot