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Pastel on board - 39cm x 34cm - Unframed
There are times when we need to just take a minute, find our bearings. Here was a piece that was entirely instinctive and imaginary. I had a few stills of snow at night, but that was about it. I didn’t want to slavishly follow a photograph, instead I let the work go where it wanted to go.
This is not unusual for me, I rarely plan which can sometimes lead me up blind alleys, but they speak to me and tell me when they’re done!
As we’re approaching the winter months, I decided to start with a mountain range and a desire to create a general feeling of contemplation.
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Oil on canvas - Framed - 34cm x 34cm
This is my very personal nod to the East London of my family and ancestors. It’s among a series that up until now I have been reluctant to let go! But my work has evolved and I now believe it’s time to let go and allow them to now find their new forever homes.
Historic writings of the area by William Fishburn and Jack London alongside my family tree were my inspiration. I re-imagined the Whitechapel they lived and worked in as the most impoverished area of the UK in the 1800’s and I really wanted to soak in the history, walking very literally in their footsteps.
Watercolour/graphite/ink - 54cm (W) x 46cm (H) Framed
A Rembrandt exhibition of the most delicately handled graphite landscape drawings changed my preconception of the limits of graphite forever. This piece was also partly influenced by Hieronymus Bosch and his school of fantasy and world view. Fairy tales, folk legends and mystery are all in this piece. This is part of a series that will be unveiled as the year progresses.
This frame is a textured, metallic bronze effect preserved within museum quality non-reflective glass.
All original works are accompanied by a certificate of authenticity and uniquely labelled.
Pastel on board - 59.5cm (H) x 39.5cm (W) Unframed
I was walking home after temping in a London location, when there was a torrential downpour. It was late Summer, verging on Autumn, my favourite time of the year. The skies were dramatic and sunset so colourful. Once familiar and ordinary structures took on a dreamlike appearance in the half light and the residual city lights and wet stone combined.
Tower Hill’s clustered historic silhouettes, parapets, streets and mature trees were softened by dampness and there was a hush after the rain, even in this busy city and despite the traffic.
My city was momentarily silenced by water. I was very happy and knew this moment had to be captured.
Oil on board - Framed 30cm (H) x 30cm (W)
The East End of London is in my bones. There were very dark times in the neighbourhood, hence the atmosphere, but the warmth was to be found in the people, community and establishments. They were my security and little oasis’ in what was sometimes a very brutal and unforgiving place.
Watercolour/ink/graphite on paper - Framed
Travel is relative. I’ve been to many places, physically. But there are places in my imagination that exist and are a combination of my travels.
Journeys never taken, taken and regretted and loved.
The Pier here represents all of the above. A platform where we are saying goodbye, or hello. A yearning for what was or for what may still become. Far away lands or imaginary boundaries and horizons.
Frame - grey oak and museum grade non reflective glass
Watercolour/ink/graphite on paper - 50cm x 50cm - Framed
Sometimes, we find ourselves exhausted mapping pathways through an increasingly complex world. When feeling depleted, my go to is the natural world.
It always offers guidance, comfort and support when people sometimes won’t do. It’s a great leveller, no matter your problem. Be it love, grief or answers. The textures and beauty of our world is a salve.
This is the message I felt compelled to relay in this piece which was 100% intuitive.
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Frame 4cm deep, grey oak effect using non reflective museum grade glass.
Framed - Oil on canvas 20cm (W) x 25cm (H)
This is another in my London series inspired by the history of the Whitechapel area, although Doss Houses were very common throughout impoverished London and wider areas.
This particular vision came to me while reading about the lack of dwellings and the severity of the nightly fight for a bed for the night.
Men and women had to queue for filthy beds within dormatory areas for shelter on a bitter Winter night.
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FRAMED - Pastel on paper - 30cm (W) x 25cm (H)
I adore the sea and ships and their history. There wasn’t a lot of opportunity to see both in London, so my father who was an ex Merchant Seaman used to walk us down by the Thames on Bank Holidays to see HMS Belfast and other retired vessels. I used to imagine the battles and men that served on them, where they had been and how far the ships had travelled.
This is my tribute to those times, albeit a little calmer in mood and a smaller craft.
FRAMED - Pastel on board - 26cm (W) x 26cm (H)
I love car headlights, especially as the light is fading evoking an air of mystery. It’s an obsession which goes back to my childhood when I would watch B/W mysteries and 70’s detective movies. Headlights reflecting on wet pavements, buildings, sometimes figures in the background, brooding in the half light. Night skies are also high on my list, they feature in my work quite frequently.
This feeling of mystery and the unknown is a common feature in my work and tv and film in my youth was the intro.
FRAMED - Pastel/ink on paper - 27cm (W) x 20cm (H)
The moon hangs low, a vessel sits small and deliberate. Faint lights glow faintly against the cool vastness of the ocean. In this nocturne, I wanted to use the minimal amount to create a feeling of the vastness of the world against the man-made security of a vessel drifting gently into the night.
FRAMED - Pastel/ink on paper - 33cm (H) x 28cm (W)
I mentally formed this piece while listening to Hans Zimmer and Klaus Badelt alongside reading Wide, Wide Sea by Hammond Sides. It’s the story of Captain Cook and a mention of Captain Bligh.
I envisioned a ship totally immersed in the salty mists on the high seas. The dramatic nautical atmosphere, this ghostly vessel appeared after thousands of miles through, deadly seas and unknown lands.
Pastel on paper -Unframed 20cm (W) x 12cm (H)
Mysterious distant lights on the far shore and time feels suspended. This is what I was aiming for after watching the amazing series on tv. The atmosphere and mood of the landscapes and mood and characters inspired a feeling. Nothing was as it appeared.
FRAMED - Oil on board backed canvas - Actual painting size 10cm x 10cm
Including Frame - 22cm (H) x 22cm (W)
This piece was inspired by the historic law courts of Temple Bar between Fleet Street, London and the River Thames. It’s an area I frequently return to. I actually sketched the area during the day but felt a nocturne would emphasise the buildings’ history and elegance.
I believe this piece would be perfect for a mantel, hallway or study. Uplit by a lamp to accentuate the light source within the painting.
Oil painting of the smoggy rooftops of London at sunset. I had imagined that it was an early October evening, when the city heat clashes with the setting sun. This was a piece that I was very proud of and was snapped up almost immediately. I still miss it! But prints are available on request should anyone fall in love all over again with this piece.
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Works are labelled and accompanied by a signed certificate of authenticity.
Prints are uniquely embossed and signed