Ffin Y Parc Gallery

Astaea captures the abundant energy of my garden as it transitions into winter. The thick impasto layers of oil paint, gesso, and encaustic wax create a rich, textured surface, evoking the tapestry-like quality of the perennial border—where seed heads and foliage form in preparation for the frost, offering sustenance for the birds. The asters, fennel, and heleniums emerge from this layered surface, with some flowers gilded to catch the light, bringing an ethereal glow to the piece.

The dense, tactile surface reflects the garden’s flourishing energy, woven and celebrating both growth and the quiet beauty of decay. Each layer adds to the depth and complexity, mirroring the cycles of nature and the evolving patterns within the garden. Through Astaea, I seek to convey the sense of an ever-changing, living canvas, where the garden’s purpose continues even as it prepares for the stillness of winter. The painting becomes a testament to the garden’s ability to inspire and sustain, even in the midst of transformation.

Oil, gesso, raw pigment and encaustic wax on board in antique frame w 57 x h 84.5 cm (Framed in antique frame w 82 x h 107 cm)

Ceres is a gestural, impressionistic work on paper, created en plein air in my garden, capturing the fleeting moment of autumnal light as it dances across the perennial border I planted a year ago. In this piece, I’ve sought to convey the raw energy and fluidity of nature evoking the vibrant, evolving forms of the plants. The fennel fronds, Helenium 'Moerheim Beauty', and Echinops thistle emerge in bold, sweeping gestures, their forms suggested rather than defined. The interplay between soft washes and vigorous mark-making reflects the contrast between the quiet decay of autumn and the persistent energy of growth.

Through Ceres, I aim to capture not just the physicality of the plants, but their essence—their moment in time, caught in the ebb and flow of the seasons. The composition speaks to the transient nature of life, the energy of nature, and the meditative process of observing it in its purest, most unfiltered form.

Graphite and conte pastel drawing on Arches watercolour paper w 114 x h 76.5 cm (framed size w 134 x h 96.5 cm approx.)

Ode to Persephone is a simple yet evocative depiction of three pomegranates, a fruit long associated with the myth of Persephone. In the painting, the deep reds of the pomegranates contrast with a soft, muted background, reflecting the fruit's symbolism of both life and death, and the transition between seasons.

The pomegranate has long been seen as a symbol of fertility and the cycles of nature, linked to Persephone’s journey between the underworld and the world above. By focusing on these three fruits, I aim to capture that sense of change and transformation. The loose, textured brushstrokes bring a sense of movement, while the gentle use of space allows the pomegranates to stand as the focal point of the piece.

In this work, I wanted to explore themes of growth, decay, and the quiet beauty found in nature’s cycles.

Mixed media on paper, framed in antique frame w 47.5 x h 37cm (framed w 71 x h 61 cm)

Together in Light & Earth is a meditative composition, evoking balance and harmony. The pewter plate, holding a ripe quince, sings of the earth’s bounty and the passage of time. The quince, with its golden tones and imperfect form, is ripe and this moment of perfection in nature fleeting.

The mussel shell, contains raw pigment for painting, speaks to the transformation of nature into art, bridging the raw and the crafted. Historically Mussel shells and other shells have been used by artists for centuries, dating back to ancient times. In the Renaissance, for example, artists would use shells to hold pigments and as mixing dishes for their paints. In the background, the heart-shaped 18th-century Rushlight candle holder adds warmth, symbolising light, inspiration, representing enlightenment, while its soft glow contrasts with the grounding presence of the other objects.

The careful placement of each element creates a perfect equilibrium, offering a quiet moment of stillness and contemplation.

Oil and gesso on board in antique frame w 51 x h 41 cm (framed w 59 x h 69 cm)

Terra's Sacred Fruit is a contemplative still life that intertwines the ancient symbolism of the pomegranate with the timeless form of a Roman earthenware bowl. The composition features the pomegranate cradled within a classic, hand-crafted bowl, its rich, red hue a striking contrast against the earthy tones of the surrounding elements. The fruit is symbolic of abundance, and the cyclical nature of life—the pomegranate long revered as a symbol of renewal and nourishment.

The title, Terra's Sacred Fruit, references the deep connection between the earth and its offerings, invoking the ancient reverence for this fruit, often considered sacred across various cultures. The subtle, muted colour palette, coupled with the tactile texture of the bowl, creates a harmonious balance, reflecting a moment of quiet reflection on the beauty of nature and its enduring presence.

Oil and gesso on board in antique frame w 38 x h 29 cm (framed w 51.5 x h 43 cm)

In Delft Egg, I have sought to evoke both the elegance of the 18th-century Delft plate and the symbolism carried by the egg itself. The soft, flowing brushstrokes in shades of blue and grey reflect the delicate beauty of a cherished object, while the egg—so simple, yet profound—embodies themes of new beginnings, fertility, and the fragile nature of life.

The egg is often seen as a symbol of potential and creation, and in this piece, it serves as a quiet meditation on the cycles of life and growth. Just as the eggs are held gently on a reflective surface, so too do we hold moments of transition with care, recognising their transitory beauty.

Oil and gesso on board in antique frame. w 23 x h 19 cm (framed w 36 x h 32 cm)

Casa De Las Salinas is a 16th Century Renaissance period house in the centre of Seville. The central courtyard is designed in a traditional layout which has been used since Roman times, creating a cool and tranquil space. In the 16th Century the owners noble family Jaén, appear among the most active merchants and financiers in Seville.
The red ochre walled courtyard is adorned with Moorish, Medieval and Renaissance objects and architectual elements. A pair of dark Triana green jars to transport precious oils and spices sit upon iron trivets.

The spaces whispers of the past and the jars have a monolithic presence evocative of a strong soul and spirit.

Oil, mixed media and gesso on board 120cm h x 60.5 cm w

Inspired by the work of an anonymous (female?) artist "Virgen de Reposo" is housed in the Museo de Bellas Artes de Sevilla, in which the abundant branches of an apple tree shelter the resting Virgin and Child as the madonna hands the child a freshly fallen apple. The painting refers to the idea of the garden of eden, but the Madonna presents as a second Eve. The painting is ethereal and sensitive and the delicately painted subject matter refers to the the Christian doctrine of falling from grace and the salvation of the human race. For me the work is more about the connection of humanity and the beauty and gift of nature, of which I seek to represent in my own interpretation with a fallen apple below the apple tree.

Oil and gesso on board 120cm h x 60.5cm w

In the grand tradition of bringing citrus specimens from distant lands, I returned home with a remarkable fruit from the royal palace of Real Alcázares de Seville: a perfect 'Citrus Limon Osbeck' lemon from their historic citrus collection.

Dating back to the sixteenth century, the gardens of the Real Alcázares boasted both sweet and bitter lemon trees, particularly in the Garden of Cidral. The 1669 Chronicles of Cosimo de' Medici, recounting his travels around Spain and Portugal, mention the Tuscan Prince's admiration for these gardens. He marveled at the lemon trees in full bloom in December, calling it a great wonder.

The citrus collections were revered throughout history. The lemons embody the spirit and history of the gardens of Paradise in Seville, and dreams of warmer climes.

Oil, mixed media and gesso on board in antique frame. Framed size 40cm w x 35cm h Unframed size 28cm w x 22cm h

A small "Placa de Olavide" (Olavide Tile) or 'place name' tile within the antique collection of Casa De Las Salinas, a 16th Century palace in Seville.

The tile harks back from the reign of Charles III. In the mid-18th Century Spanish cities were notriously disorganised, a Royal Decree in 1768 ordered that streets were to be named and houses numbered. In 1771 under Don Pablo de Olavide y Jauregui, "Olavide Tiles" were implemented and Olavide commissioned the first detailed city plan. Walking around Seville you will spot these wonderfully graphic hand painted tiles on street corners and buildings adding to the essence of Seville.

Oil, mixed media and gesso on board in wooden frame Framed size 36.5 cm w x 40.5 cm h Unframed size 19cm w x 22cm h

In the great tradition of bringing citrus specimens from far flung climes I returned home with a windfall fruit from the royal palace of Real Alcázares De Seville. A perfect 'Citrus Limon Osbeck' Lemon from the great citrus collection.

In the sixteenth century there were sweet and bitter lemon trees in the gardens of the Real Alcázares, planted in the Garden of Cidral. In the 1669 Chronicles of Cosimo de Medicis around Spain and Portugal,the Tuscan prince narrates that he stopped to admire the vegetation: the great wonder of these gardens was however for us to find lemon trees covered with flowers in December... The citrus collections were so revered - it is known that The architect Vermondo Resta, who conducted much of the reform of the gardens in the early seventeenth century, was given everyday oranges and lemons and seasonal flowers from the gardens of Alcázar. These were some of the grants enjoyed by the architect as the greatest master of Seville’s palace. True treasure from the gardens of Paradise in Seville!

Oil, acrylic and gesso on board in antique frame 41 cm w x 32.5 cm h unframed 54 cm w x 46 cm h framed

Vibrant cerise peony flowers unfurl against shadows, the silouttes of date palm trees cast blue grey forms across white washed walls.

The work is inspired by the resplendent chiaroscuro and luminous qualities of the work of one of Seville’s lustrous Baroque artists ‘Bartolomé Esteban Murillo’, best known for his religious works but also capturing the soul and life of the place and people. in In particular after “Iconography of Porciúncula” - the miracle of celestial falling flowers from the heavens.

Oil and mixed media on Arches Oil Paper 130 w x 80 h cm unframed 145 w x 95 h cm framed

Fleetingly delicate papery blooms of papaver poppies swirl in contrast between light and dark in the heat of the Sevillian courtyard. Shadows of date palms and other botanics collected over centuries from far flung climes intertwine in a cacophony of beautiful movement and energy.

These blooms, even at the peak of their pomp and power cannot help but signal their decline. Their purpose is to attract, their destiny to decay. So here is work which is both articulate and instinctive, illuminating even when it is darkling…

The work is inspired by the resplendent chiaroscuro and luminous qualities of the work of one of Seville’s lustrous Baroque artists ‘Bartolomé Esteban Murillo’, best known for his religious works but also capturing the soul and life of the place and people. in In particular after “Iconography of Porciúncula” - the miracle of celestial falling flowers from the heavens.

Oil and mixed media on Arches Oil Paper 130 w x 80 h cm unframed 145 w x 95 h cm framed

A diminutive holy water font in a corner of the exuberant and imposing Giralda Cathedral in Seville. I often feel that the smallest details, such as this font have as much meaning and purpose as the beautiful grandiose opulence of the Baroque within the Cathedral. A moment of contemplation in simplicity and purity.

Oil, Indian Ink and gesso on board in antique frame 52 cm h x 35 cm w unframed 63 cm h x 48 cm w framed

17th Century pewter plate with pomegranate. The semi-reflective surface of the pewter plate holds luminosity. The objects are caught still and expectant in soft thin Winter light, delicately highlighting the dry spiky fronds of the thistles and holding the forms of the pomegranates.

Mixed media and oil on paper in glazed modern slim gold frame 70 w x 50 h cm unframed (71 w x 51 h cm framed) (Pomegranate in bowl with thistles)

The ground beneath my feet in much of Seville was strewn with fallen fruits, orange blossoms and leaves. Their image reminded me of the Roman mosaics or "Asaroton" deriving from a type known as 'the unswept floor' introduced by Sosus of Pergamum (c.150-100BC). The mosaics resemble a floor that has been covered in food after a banquet or a celebration; you can see fruit, figs, lobster claws, sea urchins and even a tiny mouse in the 'Asarotos oikos' mosaic which is housed in the Vatican. The objects are illuminated by multi-directional pools of light from imaginary candles giving the illusion of a real life scene which must have amused the Romans very much!

My floor has traces of red spilt across its surface. During the Semana Santa week processions of 'Brotherhoods' move slowly down the orange tree lined streets, the air was thick with the heady scent of orange blossom (azahres) mixed with clouds frankincense incense and candle wax from the huge 'Cirios' altar candles which are carried dispersing in their wake.
Late at night and early in the morning, before the City's streets are washed clean, the grey granite floors are coated in red wax from the processions and the oranges and their leaves scattered. An exhilarating experience leaving a lasting impression.

Oil, Indian ink and gesso on board in antique frame 73 cm w x 53 cm h unframed 89 cm w x 71 cm h framed

Deeply coloured peony flowers emerge from the shadows surrounded by illuminating Heavenly golden aureole.

The work is inspired by the resplendent chiaroscuro and luminous qualities of the work of one of Seville’s lustrous Baroque artists ‘Bartolomé Esteban Murillo’, best known for his religious works but also capturing the soul and life of the place and people. in In particular after “Iconography of Porciúncula” - the miracle of celestial falling flowers from the heavens.

Oil, mixed media and gesso on board in antique frame 76 cm w x 64 cm h unframed 107 cm h x 95 cm h framed

Dried thistles, 'Verre de Fougére' Medieval glass jug and 17th Century pewter plate with pomegranate. The semi-reflective surface of the pewter plate holds luminosity. The objects are caught still and expectant in thin Winter light.

Oil and gesso on board in antique frame 61 cm w x 45.5 cm h unframed 74.5 cm w x 58.5 cm h framed

31 w x 38 h cm (Framed 46w x 57 h)

Oil and gesso on board in gilded 17th Century Venetian Baroque Frame with shell, glazed with antique glass

46.5 w x 37 h cm (Framed 73 w x 58.5 h cm)

Oil and gesso on board in Italian early 18th Century frame, glazed with antique glass

115.5 h x 145 w cm (Framed 142 h x 171.5 w cm)

Oil, mixed media and gesso on board in gilded and delicately verdigris French Antique Early 19th Century frame

Moments of fleeting beauty are captured and mirrored - the tension between glimpses of pure joy in the every day revered. The arrival of Spring is signalled by the blousy peony flowers, abundant and expressive, their faces tilting to the stars. They feel expansive, incandescent like a new constellation in the nights sky or transported by a twighlight tide.

Mixed media and oil on Arches Oil Paper Glazed in Antique Frame

95 cm w 65 cm h Unframed - (Framed size TBC)

18 w x 25 h cm (Framed37 w x 44.5 h cm)

Oil and gesso on board framed in English gilded Composition Louis XVI Frame c.1850

The Iris creating delicate and fragile silouettes in the brightest lights. They visit fleetingly - like butterflies. Their dark purple hued petals are translucent making them feel diaphanous, weightless and intangible.

Oil, mixed media and gesso on board in Antique Frame

98 cm w x 78 cm h Unframed (Framed size 118 cm w x 99 cm h)

Fleeting sunlight, shadows and glimpses of the bluest heavenly skies. A celebration of harmony and beauty in nature. The simple humility of the sun drenched lemon has a delicate fragility. Pure joy in the everyday, we dream of warmer climes and bright days.

Oil, gold leaf and gesso on board in rare outstanding Venetian Baroque Antique Frame c.1740

33.5 cm w x 27.5 cm h Unframed (Framed 51 cm w x 46 cm h)

New Spring flowers, peonies and Fairy Lily dance together. Their shapes and forms imprint in my dreams. The abundance of these radiant flowers make my mind feel drunk with their beauty.

Mixed media and oil on Fabriano Paper

50 cm w x 70 cm h Unframed (Framed size 59 cm w x 79 cm h)

Oil and mixed media on Arches' Oil Paper. Unframed size 130 cm w x 83 cm h. Framed size 180 cm w x 94 cm h.

Oil and mixed media on Arches' Oil Paper. Unframed size 130 cm w x 83 cm h. Framed size 180 cm w x 94 cm h.

"Narcissus" 53 w x 58.5 h cm (63.5 x 68 cm Framed) Oil, raw verdigris pigment and gesso on board in antique frame.

Inula Helenium faces the sun.

Oil, raw pigment and encaustic wax on board in antique frame.

42 w x 63 h cm (Framed 75 w x 95 h cm)

Cadmium deep yellow sunflowers in French confit pot.

Oil, raw pigment and encaustic wax on board in antique frame.

57 w x 78 h cm (Framed 72 w x 93 h cm)

Oil, raw pigment, graphite and gesso on board in hand-painted antique frame.

102 w x 71.5 h cm (Framed 120 w x 90 h cm)

Oil, raw pigment and encaustic wax on board in hand-painted antique frame.

47.5 w x 40.5 h cm (Framed 68 w x 61 h cm)

Huge scale field of suflowers and their radiant crowns. Helios is the god of the Sun in Ancient Greek. The painting is full of light, energy and drama.

Oil, raw pigment, encaustic wax and gesso on board in antique frame.

152 w x 122 h cm (Framed 188 w x 157 h cm)

Raw pigment, oil, charcoal and gesso on board in antique frame.

80 h x 90 w cm. Framed 89 h x 99 w cm.

Oil and graphite on Archers Oil paint paper.

130 w x 82 h cm

Oil and graphite on Archers Oil paper.

130 x 82 cm.

Watercolour and charcoal on aquarelle paper.

35 w x 25.5 h cm.

Watercolour, charcoal and graphite on aquarelle paper.

50.8 w x 40.6 h cm

Watercolour and graphite on aquarelle paper.

35 w x 25.5 h cm

15 x 18 cm unframed

Oil and gesso on board.

Oil and gesso on board in antique frame.

Framed 115 w x 98 h cm (85 x 69 cm aperture)

Oil and gesso on board in antique frame.

Framed 75 w x 64.5 h cm (61 x 50 cm aperture)

Oil and gesso on board in antique frame.

Framed 56 w x 44 h cm (44.5 x 32cm aperture)

Oil and gesso on board in antique hand painted frame.

Framed 107 x 91.5cm

Oil and gesso on board in remade antique frame.

15 x 13cm (Framed 29.5 x 27cm)

Oil, graphite and gesso on board in antique Venetian frame.

Framed 131 x 156cm

Oil and gesso on board in remade antique frame.

15 x 13cm (Framed 30 x 27cm)

Oil and gesso on board in remade antique frame.

17 x 12.5cm (Framed 30.5 x 26cm)

Oil and gesso on board in remade antique frame.

17 x 12.5cm (Framed 31.5 x 28cm)

Oil and gesso on board in remade antique frame.

17 x 12cm (Framed 28.5 x 24cm)

Oil and gesso on board in remade antique frame.

17 x 13cm (Framed 28.5 x 24cm)

Oil and gesso on board in antique frame.

Framed 80 x 77.5cm

Oil and gesso on board in antique frame.

Framed 75.5 x 60cm

Oil and gesso on board in antique frame.

Framed 22 x 18cm

Oil and gesso on board in antique hand painted frame.

Framed 39 x 48.5cm

Oil and gesso on board in 18th Century Antique frame.

Framed 38 x 33cm

Oil and gesso on board in antique frame.

Framed 50 x 60cm

Oil and gesso on board in antique frame.

Framed 50 x 60cm

Oil and gesso on board in antique frame.

Framed 43 x 33cm

Oil and gesso on board in antique frame.

Framed 100 x 86cm.

Oil and gesso on board in antique frame.

Framed 87.6 x 68cm

Oil and gesso on board in antique frame.

Framed 36 x 44cm

The final humble flowers from the end of Summer. They dance with vibrancy, their faces smiling to the sun. The garden embraces it's own imperfection, a tangle of twigs, seeds and flower heads - and creates a new moment. There is a Northerly freshness to the air.

Oil and gesso on board.
19 cm w x 22 cm h unframed size.

Architectural delicate twigs and branches are revealed and accented by ice crystals from the first frosts. The vibrant cadmium Rudbeckia resemble bright stars and the skies are violet at dusk.

Oil and gesso on board.
19 cm w x 15 cm h unframed size.

The pale faces of spring, the feeling of rebirth. Magnolia and papaver poppies unfurl to reveal their delicate luminous and architectural petals.

Selene is the Greek Goddess of the Moon. In Greek mythology she can be found depicted in scenes with her beloved - Endymion, the shepherd - a beautiful man who is granted eternal youth and eternal sleep with sleep-inducing poppies. The myth of Selene and Endymion is one of fulfillment through unending sleep and yet Selene gives allusions to the changeless cycle of nature.

Soluble Aquarelle pencil and Artgraf pastel on Fabriano paper 69 cm h x 49 cm w unframed 85 cm h x 65 cm w framed

A pair of Medieval Siegberg earthernware pottery jug from my collection with pomegranate. Created from hard, nonporous ceramic which is both strong and impervious to liquids, the hand thrown shape was ideally suited for domestic purposes. A banal object with a vital importance to everyday life.

This work was created in the winter to spring months, many of the pieces painted in this period are inspired by my move to an old house in the countryside and a new feeling of calm and contemplation. The works have historic sentiment as the land and place surrounding me holds too. Here at Cayton, I'm surrounded by an ancient Medieval site, nearby there are the remnants of fish pools which used to serve the Cistercian Fountains Abbey. The lakes used to house one of the largest potteries where earthernware was made and fired on wooden jettys extending the waters edge. The sense of this place transmutes into the paintings, my medieval ceramic collection holds even more significance.

Oil and gesso on board in antique frame 41 cm w x 51 cm h unframed 57 cm w x 68 cm h framed