Sunflower In a Blue Vase

Can you tell us a bit about the influences upon your practice?

My practice is influenced by other artists especially the Scottish Colourist and some of the Camden artists. I have huge admiration for the work of Van Gough. I like to think of myself as a ‘Colourist’ and try to use pure vibrant colours in my paintings and I look for colour in every subject I consider. I would say that colour always come first and I like to interpret it freely and expressively.


How has lockdown been reflected in your work? Can you tell us more about your acrylic paintings  ‘Lockdown’ and ‘The Future is Brighter’? “

Lockdown has been I time of reflection for me and I have looked at different ways of expressing myself whether it is scenes I come across or working totally from my imagination.

‘Lockdown’ is based on a inspirational place where I spent summers in my childhood – Mount Melleray in Ireland. My Uncle was a monk there. I painted this in one sitting when I wanted to escape from the horror and fear that surrounded us all. This painting took me there and the light coming through the Church window was symbolic of hope.

The Future is Brighter

 ‘The Future is Brighter’ is again symbolic and completely painted from imagination – the branches of the trees represent the tentacles of the virus searching out for victims but in the distance there is hope in the bright light and the colour of the buildings, again I have used the light shining through the windows in the church tower. The black and gold frame are there to add more contrast.

Narcissi on my Window Sill

What makes a good still life?  What did you need to consider before choosing the composition for ‘Narcissi on my Window Sill’? 

I think a good still life is like an indoor landscape! It should have depth, colour, tone and above all good composition. ‘Narcissi on my Window Sill’ was my first work in lockdown. I just happened on on the scene one early morning – (I have to admit I added the orange and lemons to the scene – it is a bit of a trade mark for me). I liked how the outside became part of the composition and the low level light was perfect- it was completed in one sitting. Most of my still life paintings are ‘found scenes’, usually dictated by the outside light impacting on the interior.

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