Contact Home Page The Gallery Information EDUCATION  Completed full time Secondary Education 1948.  ( Outstanding subjects - Drawing and Painting). 1957 to 1960 Studied for Engineering qualifications.   1964 to 1974 Studied Life Painting and Drawing, History of Art and  experimental painting under William Mills at East Herts College. CAREER DETAILS  1948 -1953   Completed Engineering Apprenticeship, although  main interest was Drawing and Painting. 1953 -1955   National Service with Royal Air Force.  1955 -1974   Returned to civilian life working as an Engineering  Draughtsman with several large companies, while maintaining my  involvement with painting and exhibiting regularly in the  Hertfordshire area.   1974 -1996   Moved to Swanage, Dorset, to devote more time to  painting and establish a studio, while still supporting myself and  family as an Engineering Draughtsman. 1996 -           Now devoted to full time painting.   RECENT EXHIBITIONS  2005   Royal West of England Academy, Bristol - shared exhibition  (4 artists) 2006   Allsop Gallery, Bridport Art centre - “Exhibition Signature” -  shared exhibition (4 artists) 2007   Lighthouse Gallery, Poole - “The Power of Paint” - Solo  exhibition 2008   Atkinson Gallery, Milfield, Street, Somerset Summer  Exhibition (Commendation award) 2010 Purbeck Art Week - Open Studio  2010 Acanthus Gallery, Wareham - shared exhibition (4 artists)             STATEMENT  Acknowledging that painting and art in general is personal and  invokes a different response in us all, my concerns are with  achieving meaningful work that exists in its own right, without  recourse to illustration or pictorial elements. With this in mind, what I struggle to produce I regard as non-  figurative as opposed to abstract. Abstraction infers that it is  abstracted from something else, i.e. elements taken from  landscape etc. and re-arranged in a different composition. As with all painting it is a process of analysis and constant  alteration to arrive at a meaningful result. But all these judgements  are aesthetic and without pictorial restraints. Colour, paint handling, gestural mark making and experimentation are all important to  impart the illusion of energy, vigour and surface tension to the flat  surface. Therefore experiment is crucial and I try to avoid reliance  on a rigid technique. Because the window for innovation is very small, the struggle to  find it is more intense and not always successful. Not having  pictorial or illustrational qualities to fall back on, the painting can  only work on a painterly level.