Green, red and brown

I am about to start packing up my studio.  My fellowship at Ballinglen Arts Foundation has come to an end and I am taking stock.  I have spent a great deal of time looking at seaweed and rocks.  Having never lived by the coast,  I really enjoyed exploring these resilient  plants at low tide.  In the studio I experimented rather than producing finished work.  I am leaving with lots of ideas, creative energy and excited to begin my next project.  I am sure seaweed will make an appearance in my work soon.  Another artist mentioned that fellowships give you the …

Seaweed inspired thoughts

I am completing an artist fellowship at Ballinglen Arts Foundation in County Mayo, Ireland.  I have spent the last few days exploring the coastline collecting seaweed, meeting a local seaweed harvester, eating seaweed and even bathing in it!  Some words I jotted down in my sketchbook around seaweed – conceal, reveal, beautiful, resilient, cold, tenacious, delicate, salty, peppery, hidden, mysterious, green, red, brown, black, secretive, glisten, metamorphose, cold…  I plan to begin drawing inspired by these incredible plants.      

Capability Now

Capability Now forms part of a national series of events celebrating the 300th anniversary of the birth of Lancelot ‘Capability’ Brown, an architect and designer responsible for the creation of nearly 300 of England’s finest Georgian landscaped parks and gardens.  A few years ago I collaborated with the National Trust and drew in the magnificent Croome Court located in Worcestershire that was designed by Brown.  I remain curious about Brown’s vast contribution and influence upon the British landscape. In the current Capability Now Exhibition the ground floor of Orleans House is devoted to historical material and social context in relation to …

Transplanting the Flower Market

I keep returning to New Covent Garden Flower Market.  However, with the forthcoming move of the Market to a new building in October 2016 I feel now is the time to move the project forward. I have continued to research the history, people, politics, locations and buildings of the Flower Market. My project has developed from creating artwork that purely documents a moment in time to exploring the idea of a permanent market that moves.  I have become fascinated by the notion of transplanting this incredible market. I used to see the Flower Market as a landscape of flowers in …

Filming and flowers

I am collaborating with film maker Sam Weston to create an artist video.  We have filmed in my studio and at New Covent Garden.  I look forward to sharing it with you soon. Film Maker Sam Weston

Autumn Colour

I have been thinking about the amount of colour I use in my work after seeing the vivid autumn shades in the beautiful Westonbirt Arboretum.  These eye-catching brightly coloured trees could be seen from far away.  I have always preferred tonal drawings and previously have opted for a muted colour palette.  I liked the contrast between the dark branches and the brightly coloured leaves.  I would like to explore using these colour pallets in future artwork. Westonbirt Arboretum

Private View of Layered Drawing Exhibition at NLCS

It was great to share artwork completed during my Artist Residency at NLCS with a new audience. I enjoyed meeting old NLCS girls who recognised the locations of where I took rubbings that were incorporated in my work from around the school.  I had many lively conversations about the titles of the artwork, the history of Canons Estate and the role art plays in education.  Huge thanks to all at NLCS. Layered Drawings  Photography by Graham Ryder  

To the point

The first thing I do each morning in the studio is to sharpen my pencils.  I have many and I am very particular about how I like them to be.  I suppose it is a ritual of sorts.  At art school I was told to throw away my sharpener and use a knife, which was considered far superior. This habit remains and I slowly rotate the pencil while cutting to create a sharp even point.  I like the different sounds.  Slicing through the wood has a lower tone in comparison to the higher pitched noise of carving through graphite.  For …

Drawing in the rain

The Tyrone Guthrie Centre at Annaghmakerrig is like stepping into a Constable painting.   There is a house of elegant proportions, rolling emerald green grasses that leads the eye to a lake where six swans live.  The light is pure and whiter than I am used to in London.  When the sun is not hidden behind candy-floss clouds dramatic shadows appear on the landscape.  Standing in front of the steps leading to the house there is a sense that in some strange way time has paused. After the solitude of my day in the studio and exploring the grounds I look …