Did a short course on collagraphy with Genevieve Lavers – who is brilliant and a great teacher! Loved the course something I’ve wanted to do for some time. Completed these two . . .

Abstract using cor. cardboard, string, tissue, oats and textured wallpaper
Scratched in with a scalpel, wallpaper, lace, scrim and glue.

Linocut – Crow with Nut

Initial print. I used masking and caustic soda to etch a texture into the background.

I printed my initial plate in both light yellow and then in cyan blue versions. I had too much ink on my first run which flooded the etched background. Subsequent prints were far better with less ink on the roller. I palette’d out using the pages of an old newspaper to remove excess ink before rolling out on the plate.

Original photo taken in the Cotswalds

PRINT MAKING at Morley College

This design based on a flower stamen was developed from a photo image taken with a macro lens and drawn in pen and ink. The idea was inspired by Georgia O’Keeffe.


I used a zinc plate, polished and degreased with a chalk and citric acid mix to enable a hard ground to be layed then ‘smoked’ which would allow for crisp line mark-making with a stylus.

The plate was then etched using nitric acid for 6 mins (20:1)

The ground and any stop was then cleaned off with paraffin, and the plate was inked up using a traditional, oil based ink, Paper was prepared by soaking for 5mins and blotting (paper on cheek test!), and stored under plastic sheet until ready for printing.

The plate was then placed on the bed of the printer on a sheet of tissue to protect the blankets from absorbtion of excess ‘size’ squeezed out from the paper during the print process; it also to protects the expensive blankets from any ink marks. The prepared paper is then carefully positioned on top of the inked plate and another sheet of tissue is layed on top of paper. The blankets are carefully placed on top of the assembly of tissue, plate, paper and tissue and the roller is turned to emboss the intaglio print into the dampened paper.

The resultant print


Note: finger prints at the top of the plate. The plate is highly vulnerable during the process and must be handled with care. I also noticed scratching across the image – this could be due to other plates coming into contact in the draw whilst in storage. I will cover plates with card and elastic bands next time. Other faults include ‘bands’ down the left and right hand  sides – this was due to stop-out used to protect the edges during ‘smoking’ of the plate. I will paint much thinner lines on each side next time – if at all.


Three posters created for Rayne Arts Festival – I was a founding member of the team. Great memories and brilliant music and comedy. Happy times!

I wanted to capture the style of the 30’s With the architecture of the rail station and the fashion of the times.

The event at Rayne Station, a disused building where the lines had been taken up as part of ‘Beeching’s axe’ of the railways in the 60’s, ran for a few years between 2011-2013.

We wanted to give a platform for young and local talent. We had singers, bands, folk bands, art, comedy – a real family treat – all in aid of developing talent and donating to ‘The Friends of Flitch Way’.


My adorable Nephew at Kentwell – an annual Tudor reenactment where participants live like Tudors for a week in the grounds of a large Tudor mansion in Suffolk.  He loved his time there – a life changing moment in his young life

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He was a travelling ‘player’ for a week. They even speak the Shakespearean style language of the time when ‘on duty’.


I was fascinated by the rythm created by these leaves on a pond in Writtle. The distribution of colour and shape is seemingly random, yet the texture is uniform


We owe everything to nature’s ability to create order from chaos.


Took this shot in situ – no extra lighting, just sunlight hitting the doll at just the right angle and lighting up the head! I didn’t even move its position to get this shot.

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What features in your worst nightmares?


IMG_1258.JPGBronze I made at Pelham Hall Sculpture Studio, (Morley College) Lambeth Walk in London.

As I developed the piece, based on a dream featuring strange, equine creatures, I become aware of how I am slightly repelled by the idea of a horse’s mouth and nose parts perhaps through conditioning or genetic imprinting – I subconsciously judge them to be unclean in some way. This led me to ponder how normally, I turn away from what I perceive to be ‘unpleasant’ but if I accept my judgement as just another ‘thought-form’ – instead of being enslaved by it, I’m set free to perceive true beauty in everything

I found the development of the idea and the whole foundry experience to be an amazing metaphor revealing the great beauty of life and for me, the end result encapsulates that insight.