Download and print an A3 version of Meditation Paintings exhibition poster (see image above).

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18 March ❘ 6pm - 9pm

Viewing by Appointment till 27 March*

*Tel: 07506 693884 to arrange a viewing

I walk dogs every day on the hills and moors of ‘Wuthering Heights’ made famous by the Bronte sisters.


I walk in all weathers seven days a week.


My paintings are reflections on the experience of immersion in the elements.


They are not depictions of specific scenes or particular views, but transcriptions and expressions of the physical and emotional experience.

The paintings are an ongoing series developed daily in my studio.


As a part of my studio practice I meditate daily and also use a form of Japanese meditation called Enso, a traditional calligraphic practice with inks and brush.

I use materials as directly as I can in a mixture of processes and media. I work a lot on paper pulp on canvas. I use inks, acrylic and oil paints, encaustic wax.


The paintings subtly shift and change in differing light sources.

They are quite physical and deliberately modest in scale, and intended for individual personal meditation.


Using pulp slows me down.


I use the Japanese technique of ENSO with my daily meditation practice.  It requires a cool, clear mind and instant action – following the flow of the brush and ink.  No hesitation.

Images from the Exhibition
Songs in the Grass
Meditation V

All images photographed by MENTAL IMAGES  ©MENTAL IMAGES 2016

In the studio I lay washes of ink down on gesso ground on my canvasses before covering in layers of paper pulp.  I strip away slices and sections at this point and cut into the pulp layer in waves and striations.  As the pulp dries the inks seep and bleed into the layers, rising to the surface in reflections of the under painting and creating a bond with the body of the material.  Gradually the surfaces become more physical and fuse into one entity.  At this point I may rework some of the layers or surfaces, and introduce waxes into the open strands and create solid colour slices or bands.


With so much going on visually, I simplify the form in bands to highlight the textural contrasts and colour adjustments.  This also has the effect of speeding up or slowing down the rhythm of the painting and the speed of ‘reading’ the passages and defining the character of the painting as an object.


Each painting has its own definite character and voice.  It’s my job to let you hear it.