Looking In Looking Out

The forest as a means to conjure up a kaleidoscope of colours, contrasts and juxtapositions of colour, rhythmic repetition and the layered intensity of overlapping paint strokes.  Starting out with an intuitive feel for the developing work, rather than aiming for a particular finished image but, as the painting progresses, the image becomes more intentional and defined. I gave myself permission to paint in any colour or new way that I wanted to, I started a dialogue with myself that informed each mark and colour. A very simple question ‘how would you like to paint that bit?’ and then waiting for the answer. It was very specific when it came. So the forest became a vehicle and not only the subject. One of the new themes I recognise is that the forest is a vehicle for rhythm. That pulsing rhythm,going in and going out, as in looking in and looking out.

The Space and Relation of Things

A collection of shapes, colours and textures found by looking closely at forms while on a walk in the country. Taken away from overwhelming  landscape the objects are ‘framed’ by the space around them and in their relationship to each other in order to be ‘seen’ as individual forms and as part of the composition.


The Equalizing Wood and its Gaze

Photo works about walking and looking in the woods. How we look and what we see and how these events affect our (modern fragmented) identities.

The forest as a symbolic place of testing and transformation and as a place of sanctuary and reflection hidden from Gaze of others.

A place absent of pollution from noise, light and industry.

An equalising space where animals look at you as you look at them and trees do likewise.

A place not yet entirely obsolete but under threat by super modernity. Perhaps we will put woods in a place to  be viewed as a ‘museum piece’ rather than a place to live, dwell and be.(See  Non-Places by Marc Auge)




I See U See I (resisting anthropomorphic landscape)




Remembered Fictions

The negation of the real to present a ‘nothingness’ (Sartre). Absorbed by colour and marks, scratches on a surface. Painting as an ‘otherwise’ and a political expression of human freedom. There is no freedom in a world ‘as it is’ we need alternatives to the moments of ‘now’ in order to imagine and to dream. Painting is not a momento of  time (photograph) but is ‘always present’ as an object or image in the world with whatever meanings and associations its present reading brings (thus is the same image always changing).


Enchanted Forest. Watercolour on Wood


By Leaves We Live (Geddes) Oil On Canvas

Medium Specificity and Obsoletion

Experiments in large format film photography. An obsolete medium captures something of the essence of the forest. It is causal, a trace, a fingerprint (indexical) of the real rather than an interpretation of the real by mechanical, contrived means.

Film also contains the alchemical elemental processes of light, atoms and minerals as opposed to modern photography’s digital code and pixels.



The Orchard

A short video of a forest school outdoor education day. Inspired by the social form of children’s increasing disconnection from nature and natural play and societies, largely, indifferent attitude to it.


‘As technological civilisation diminishes biotic diversity, language itself is diminished.’ David Abram, Spell of the Sensuous

Featuring a soundtrack of children reciting  the 50 words from nature cut from Oxford English Children’s Dictionary and their replacement with words “associated with the increasingly interior, solitary childhoods of today”.



‘The Landscape Paints Itself In Me’ (After Cezanne)





Painting in situ at local woodland spaces. Immersive painting as embodied intelligence articulated in paint.

The known world, according to Merleau Ponty, is a constant exchange of interrogation and reflection. Through our physical being (Body) in the world we are transformed by it, and we also by being in it simultaneously transform the world.

“The painters world is the visible world, nothing but the visible: a world almost mad, because it is complete though only partial. Painting awakens and carries to its highest pitch a delirium which is vision itself, for to see is to have at a distance; painting extends this strange possession to all aspects of Being, which somehow become visible in order to enter into the work of art” Eye and Mind 1964