Gallerina

I am inspired by the idea of the immersive Roman garden, many Roman households housed paintings that developed on the notion of the Roman garden within a domestic home. Walls were adorned with surprising frescos of flora and fauna in many varying seasonal phases to become lasting places of joy. Truly bringing the feeling of celebrating life and nature within an interior, bringing the outside in. The rooms of many of the Roman Empire garden paintings, particularly including the 'Villa Livia'; are renowned for their accurate depiction of plant species with an illusionistic quality of perfect order. The atmospheric vista seems to reach way beyond - hence 'Semper Hortus', the 'forever garden'. Painting directly from my own garden, lemon and orange trees silhouette amongst olive trees, grape vines, figs and hydrangea - illuminated by heavenly blue skies.

198 w x 122 h (Framed 238 w x 161 h cm) Oil, mixed media and gesso on board in an English George III frame originally housing a portrait by George Romney RCA.

The radiance of luminous cloud which surrounds the sunflower.

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

108 w x 150 h cm (Framed 119 w x 156.5 h cm)

Still life inspired by the use of fresco in the Roman Villa. Creating spaces and places within living spaces, the Romans adorned their walls with depictions of everyday food and wine; precious vessels and objects from daily-life; self-portraits alongside images of the Gods and Godesses they worshiped. The heavy impasto surface of the painting here has a chalky ceramic-like quality. A small glass blue-green silica wine jug poised alongside a perfect leafy lemon. The lemon was a prized fruit in ancient Rome, it symbolised the status of the home. The Romans worshiped Bacchus the God of wine and all of his unrestrained revelry, ecstasy and creativity.

46 w x 34 h cm (Framed 65 w x 53 h cm) Oil , mixed media and gesso in antique frame

A study from my garden — foxgloves, cosmos, and lilies — caught in a rush of wind and weather. Painted in that suspended breath before the rain, when everything trembles on the edge of change.

This work celebrates fleeting moments — the beauty that exists only for an instant before it’s gone. Petals, light, and air dissolving together, held briefly in paint and memory.

46cm x 61cm Oil and mixed media on canvas

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

A rare blue Meconopsis — the Himalayan poppy — discovered at Newby Hall Gardens. Its impossible, celestial blue felt like something glimpsed rather than found, fleeting yet eternal. I painted to celebrate its rarity — a moment of pure wonder held delicately in pigment and breath.

This work captures the essence of transience: the bloom that appears only once in a lifetime, suspended between fragility and brilliance.

66cm x 90cm unframed Oil and mixed media on paper

Drawn to the elusive Meconopsis — the rare blue poppy of the Himalayas — this work traces my memory of its shimmering presence. Found at Newby Hall Gardens, its extraordinary hue seemed almost imagined: a bloom that exists between worlds, dissolving into air and shadow.

Through fluid washes and gestural marks, I sought to capture that sense of searching — for something so fragile it might vanish as you behold it. A meditation on rarity, beauty, and the pursuit of the unattainable.

66cm x 90cm unframed Oil and mixed media on paper

The House of the Golden Bracelet in Pompeii holds one of the most enchantingly beautiful garden frescos. It's terraces are pre-Roman and mytholigical frescos depict abundant views of gardens and reproductions of original Greek works of the 4th Century. I imagine the place to feel timeless, a marriage of myth and nature. A mysterious and immersive garden, silouettes and shapes surrounding the viewer.

163.5 w x 78 h cm (Framed 186 w x 100 h cm) Oil, mixed media and gesso on board in antique frame.

Full and fecund open peony flowers bask in the Sevillian courtyards sunshine. Their luscious and abundant as the light ever-changing dances over their fleeting blooms.

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

Many Roman gardens included an internal peristyle, an open space surrounded by a colonnade. Designed as places of peace and tranquility, refuge from urban life, they were spaces filled with religious and symbolic meaning. Ornamental horticulture because highly developed in Roman times, influenced by foreign civilizations. Plants were both cultivated locally and imported. The garden frescos prominently feature specific species of plants - noteably iris, lilies and daisies. Flowers were cultivated for aesthetic purposes and their ethereal qualities used for both ceremony and for perfume.

87 w x 67 h (Framed 113 w x 92 h cm) Oil, mixed media and gesso on board in antique frame.

Cera meaning 'wax' in latin.

The wax surfaced medieval Spanish huge scale offering bowl tells a tale. It has been overpainted, stapled and re-waxed and glazed throughout its lifetime. Rumour has it that whenever there was an illness within the monastery, because the bowl was so revered and such an essential part of every day (being the main bowl on the communal table), it was thrown into the nearby river until washed clean by the currents - each time rescued and mended and brought back into the monastic space.

Cera is full of changing light, of history and energy.

76 w x 66 h cm (Framed size 96 w x 85 h cm)

Oil, raw pigment and encaustic wax on board in antique frame from The Palace of Versailles.

Study for "Sagrada Familia" capturing the energy of growth.

Oil, Indian ink and mixed media on antique Japanese parchment paper 79 x 79 cm

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.

Part of the series of Sunflower paintings tracking the light from dawn to dusk. I admire the enchanting vibrancy, variety and luminosity of the sunflower in many of the formal English country gardens that I have always adored. They remind of warmer climes and sun filled days. Perhaps they have become part of an illusion of a place, a time or a feeling that cemented into my mind -like an architectural structure - of freedom, free-thoughts and the happiest of days.

80.5 w x 130 h cm Unframed (Framed size 93.5 w x 144 h cm Mixed media on Arches Oil Paper (Framed in modern gilded slim frame floating on mount glazed )

Part of the series of Sunflower paintings tracking the light from dawn to dusk. The sunflower field epitomises the cycle of life and light at every stage. Helianthus ‘annus'. The name is derived from the Greek words Helious, meaning sun, and anthos, meaning flower, thus the name sunflower. The opalescent pale yellow lights of daybreak, the colours of the stems are desaturated and the cadmium yellow of the sunflowers heads unfurl as they begin to wake and lift their heads to the rising sun.

80.5 w x 130 h cm Unframed (Framed size 93.5 w x 144 h cm Mixed media on Arches Oil Paper (Framed in modern gilded slim frame floating on mount glazed )

Part of the series of Sunflower paintings tracking the light from dawn to dusk.

The sunflower at sunset, the heavy seeded heads of the flower illuminate and glow against their darkening foliage, a glimer of blue sky in the background.

The species name annus refers to the plant's annual life cycle. It made a lasting impression, burning imprinted shapes in my mind - not just of their shadows, light, structure and colour-But of their importance and necessity to life. I wanted the paintings to be explosions of light shape and colour. Like fireworks, or deep space star constellations. An imagined place full of light and joy.

80.5 w x 130 h cm Unframed (Framed size 93.5 w x 144 h cm Mixed media on Arches Oil Paper (Framed in modern gilded slim frame floating on mount glazed )

The Sea Poppy from last year's Summer still resonates. It proliferates and climbs hostile surfaces of exposed stone, taking hold in the smallest cracks against the elements.

Skies become seas, and the swathes my California Tree Poppy - the tides. My garden's banks become rocky edges of land. My memory of those past days in my favourite coastal places: from Lanzarote to St Ives; and Llanddwyn, on Anglesea - I recall exploring the wild coast lines and discovering this exceptional beauty surviving and flourishing against all odds.

130 w x 90 h cm

Oil, raw pigment and pastel on Arches Oil paint paper

Gold and silver light licks the shape of leaves of the Tree Poppy in the sunlight, shadows become pools of blue light. The early Summer garden becomes a place you could dive deep into.

Named Grotto Azzurra after the Blue Grotto sea cave of Capri - sunlight passes through the water transforming the place, reflecting an incredible azure blue or emerald light. It is said that objects under water famously appear silver because of the dazzling light refraction. In Roman times, Emperor Tiberius used the Grotto as a marine temple and swimming hole - it was decorated with statues of the sea god Neptune and Triton.

130 w x 88 h cm

Oil and pastel on Arches Oil paint paper

This year I have spent most of the Summer observing the subtle changes of the garden. I've had the pleasure of this every day. A bank we planted a couple of years ago comes into full bloom. The Senecio Cineraria Silver Dust plant with its velvety dusty icing-sugared leaves proliferates and outreaches to the sun in great swathes like waves. It begins to resemble corals under the sea. I imagine great oceans and reefs and I'm transported there.

130 w x 91 cm

Oil, raw pigment and pastel on Arches Oil paint paper

Fioralba literally translates fiore "flower" and dawn "alba". A warm yellow ochre light illuminates the garden as the sun rises. The flowers, leaves and seed heads are burnt siena, emerald and gold.

130 w x 88 h cm

Oil and pastel on Arches Oil paint paper

Great papery petals of Italian papaver poppies signal Spring. Primavera means 'Spring'. The papaver symbolises peace, sleep, pleasure, hope and resilience. The giant flowers in the painting are dreamscape and enveloping.

92.5 w x 77 h cm (Framed size 115 w x 100 h cm)

Oil and gesso on board in large antique frame.

"Hortulus" ('little garden') 71.5 w x 48 h cm (84 x 60.5 cm Framed) Oil and gesso on board in antique frame.

The Fondaco dei Tedeschi in Venice, situated on the Grand Canal near the Rialto Bridge. It was the headquarters and restricted living quarters of the city's (Tedeschi) merchants. True Merchants of Venice. For the first time in history there is now a viewing platform at the top of what is now a high-end Department Store and you can now see the South and North of the Grand canal - a great swept vista from high above, one that has never been painted (in my knowledge) before. It looks like an unreal perspective buy you can see the Rialto Bridge roof tops at your feet and Gondola that look like waterboatmen fleeting across the great Grand Canal surrounded by this Renaissance city and its burnt siena and red ochre walls. Magical!

Oil and gesso on board in antique frame.

Framed 123.5 w x 105 h cm (101 x 81.5 cm aperture)

Like great Water Lily pads, the leaves and flowers of the Summer Nasturtiums overhang the terrace. Their leaves casting large puddles of shade and reflecting the brightest summer light.

Berossus, a Babylonian priest wrote about the Hanging Gardens of Babylon in c. 290 BC "In this place he erected very high walls, supported by stone pillars; and by planting what was called a pensile paradise, and replenishing it with all sorts of trees, he rendered the prospect of an exact resemblance of a mountainous country. He did this to gratify his queen {...}"

We create our own personal paradises in our gardens, we fortify our souls.

56.5 h x 77 w cm

Water-soluble pastel on watercolour paper

'Oleum Testa' - Oil and Shell in Latin. The amphora shape is an ancient storage jar used to carry oil at sea. It lies next to the mussel shell and paint pot - it is so still but full of anticipation of becoming a working object once again, being useful and brought to life. The mussel shell is of the sea and the paint pot with brushes the fulcrum of continuation.

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

Framed 79 w x 56h cm (67 x 44cm aperture)

22 x 19 cm unframed (Framed 30 x 28 cm)

Oil and gesso on board.

20 x 20 cm unframed (Framed 28.5 x 28.5 cm)

Oil, charcoal and gesso on board.

Oil and mixed media on Arches' Oil paper. Unframed size 130 cm w x 83 cm w. 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.

The studio table is strewn with purple blue mussel shells, pewter spoons and paint brushes. My paint stained cotton cloth which covers my table now has so much history it resembles the multitude of colour in sand. Treasures, collections, reminders of moments past. The mussel shells remind me of Venice, its deep vast lagoon waters...and a recent windswept walk down Hunmanby Gap beach near Filey on the East Yorkshire Coast (my dogs have the wind in their ears and a spring in their step!) The mussels have this incredible colour that changes in the light...little treasures.

Oil and gesso on board in antique frame.

Framed 68 w x 58 h cm (50 x 40 cm aperture)

Liber - meaning 'book' and also meaning 'free'. The painting contains a carved wooden hand of a gilded saint grasping his book. The Medieval jug from a Mediterranean shipwreck. It is filled with Summer flowers from the garden, Nasturtiums from my terrace.

In the Medieval garden cultivation of food was key. The luminous nasturtium flowers were one of the most popular flowers grown. The book "Hortulus Animae: Little Garden of the Soul" was an illustrated prayer book paying special attention to the enclosed monastic garden and herb garden and its importance to enrich and enlighten the soul.

55.5 w x 67 h cm (Framed size 71 w x 82 h cm)

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

On the tiny green wooden painted artist's chair ' Sella' sits my blacksmiths' leather tool bag full of my oil paints - the tools of my trade.

Oil and gesso on board in antique frame.

Framed 89 w x 100 h cm (55 x 67 cm aperture)

59 x 42cm

Charcoal, watercolour and Indian ink on watercolour paper.

59 x 42cm

Charcoal, conte on watercolour paper.

Oil and gesso on board in antique frame.

126 x 67cm (136 x 76.5cm Framed)

Capturing and celebrating the energy of autumn - a display of berries, Chinese Palm fruit, autumn leaves, red velvet roses and hydrangeas. At the change of the season I love to fill my studio with giant displays of beautiful flowers with capture the feeling of the change of colours and textures each season brings. 120.5 x 100 cm unframed size.

'Ave Maria' lemons from the lemon groves near Seville! This still life also houses a small Medieval monastery offering bowl from the area.

47 x 56 cm ( Framed 72 x 80.5 cm )

Oil and gesso on board in hand-finished antique frame.

59 x 42cm

Charcoal and conte on watercolour paper.

59 x 42cm

Charcoal and Indian Ink on watercolour paper.

The Gondolier emerges from the mists and makes his way into the mouth of the Grand Canal in Venice. He carries a precious cargo of storage jars with oils, herbs and spices from far flung lands. For centuries, the gondola was "The Chief" means of transportation and most common watercraft within Venice, thousands of the Gondola would have travelled down the Venice waterways - these are the true heros and the Merchants of Venice.

Oil and gesso on board in antique frame.

Framed 95 w x 77 h cm (77 x 59 cm aperture)

Calle Del Filosi in Venice near Campo San Polo is a tiny dusky red high walled street wide overlooking the most striking deep lagoon emerald Merchants doorway with what looks like a disused space behind - above the doorway are balconies full of geraniums celebrating 'a Venetian lives here!' and Gondoliers smooth past on the milky turquoise waters that cut through. The colour and light of this place are such that your eyes are bleached on first impression - all you can make our is this faded impression before your eyes are filled with colour from from the illuminated light and the shade.

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

Framed 82 w x 90 h cm (58.5 x 68.5 cm aperture)

Oil and gesso on board in antique frame.

Framed 84 w x 66 h cm (61 x 43 cm aperture)

Oil and gesso on board in antique frame.

Framed 79 x 93cm

Oil and gesso on board in antique frame.

102 x 79cm (108 x 85.5cm Framed)

Oil and gesso on board. Gigantic palaver poppies float through gusty clouds. In Greek Mythology Hypnos was the personification of sleep - he was said to be a calm and gentle god, as he helps humans in need, due to their sleep, owns half their lives. Work at Gallerina. Unframed size 151 x 122cm

The chalky white cliffs at Flamborough Head. An incredible geological structure almost like coastal groins run side by side along the beach, the pebbles are enormous..this is a place for giants! Work at Gallerina.

122 x 83 cm Oil and gesso on board

151 x 122 cm

122 x 93.5 cm

Oil, gesso and lapis lazuli pigment on board. An explosion of Yves Klein blue, the delphiniums are a celebration of life and sunshine, dramatic dark shadows contrast against this saturated colour. Work at Gallerina.

122 x 122 cm (Framed 148 x 149 cm)

A dramatic sea stack of chalky rock at Flamborough Head. An inlet for the milky turquoise tide filled with layers upon layers of dark purple luscious seaweed. Sun on one side moon on the other. Ebb and fall of the tide. Work at Gallerina.

122 x 122 cm

74 x 47.5 cm

59 x 64 cm

115 x 122 cm

Friend of the fig "Philosykos". 40.5 x 30.5cm inc. antique frame.

Oil, dammar and gesso on board in antique frame.

114 x 83 cm (inc. frame)

The beginning of the study of Plas Mawr Elizabethan Country House in Conwy. Stepping up from the seafront a hidden gem of Conwy. Plas Mawr is all dark and light, chiaroscuro. It has this ornate naïve plasterwork throughout featuring symbols of heraldry and the owners initials ‘R’ (Robert Wynn). The space is filled with levels of light, signs and marks of the past. The walls tell a thousand words. Peter Smith historian said “the most perfect and the most complete memorial to Elizabethan Wales”. 53 x 63 cm framed. Mixed media on paper. Find this work at Gallerina, Darlington, County Durham.

Part of the Pompeii series. A banal every day object–simplicity in this functional object –the bread pan. Formed by hand in turn forming food to give life. Simplicity of giving Vita –life force. I like the way that these objects created by craftsmen are instantly familiar to us even if we don’t understand their end uses. There is an instant connection to them, a resonance of the beginnings of our culture. 57.5 x 83 cm framed. Mixed media on paper. Find this work at Gallerina, Darlington, County Durham.

A collection of everyday objects, although antique, used and loved. Galvanised garden torches, industrial halogen light silver, huge rusty old nails and verdigris ball cocks. All speak together in this rhythmic almost 'floral' arrangement exploring composition, colour and patina. 44 x 55 cm (53 x 63 cm framed) Mixed media on paper.

The sense of our provenance, where we come from, our roots, our ancestry. The simple form of the jug used since our earliest history crossing eras in every context. 42 x 52cm (53 x 63 cm framed). Mixed media on paper.

Sagrada Familia is inspired by my recent visit to Seville during "Semana Santa" or Holy Week: the soul, the passion and the energy of the city; the atmosphere manifested from the deeply ingrained spiritual culture of worship; the timeless beauty that is an amalgamation of the most noble and magnificent elements from Roman to Renaissance.

The paired back nature of this work harks towards the resplendent chiaroscuro and luminous qualities of the work of one of Seville's lustrous artists - Baroque painter 'Murillo' who captured the soul and life of the place and the people. Magnolia flowers and papaver poppies cascade from the Heavens.

Oil, raw pigment and gesso on board in antique frame 68 cm w x 110 cm h unframed 114 cm w x 136 cm h x 8.5 cm d framed

From the series "Seville Triptych" 'Cochineal Red Wisteria'. 'Jasminum officinale L. (Common Jasmine) and 'Wisteria sinensis Sweet' (Chinese wisteria) intertwine in large abundance over the external deep Cochineal red walls in the Jewish Quarter outside the Alcázar. Your senses are overwhellmed with the scent of the wisteria, striking clusters of butterfly shaped lilac flowers which give off an intoxicating aroma. They cover the gallery of the Garden of Galera in the Real Alcázar - in winter letting light and heat in and in summer sifting the intense light by forming this beautiful natural lattice of abundant leaves. In the background the sound of sparkling waters from a nearby marble fountain with tiered cascades is being visted by a graceful white dove.

Jasmine is often considered the flower of Paradise, or the symbol of divine love. Since the jasmine flowers precisely in May, the month dedicated to the Virgin Mary, the flower is associated with her image. It is also highly valued in Islamic culture, we know from a fragment of an ancient Arabic poem that King al-Mutamid loved the scent of jasmine, and would have filled his gardens with the wonderful plant the during his dynasty in Seville between 1040-1095.

Cochineal red pigment extracted from the tiny bettle which lives on the Prickily Pear plant, was one of the colours the Spanish tresure fleets brought in peak quanity from the Americas during the 16th and 17th Centuries. Only the ports at Seville and Cadiz were permitted to import the pigment. The wonderous deep scarlet colour was used in profusion, in the 16th Century textiles were dyed in the brightest and most saturated red dyers had ever seen, followed by use within the European painters palette as seen within Baroque paintings from the beginning of the 17th Century.

Mixed media on canvas in handmade frame 183 cm h x 85 cm unframed 202 cm h x 100 cm w m 4.5 cm d

Part of the "Seville Triptych" Casa De Los Pinelo 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 which houses a collection of 'Citrus Aurantium L.' or the Bitter (Seville) Orange.
Small oranges are scattered across the unswept floor, with scented fallen blossoms and leaves. The fruit is associated with paradise in many cultures, in Greek and Roman myth Hercules stole the 'golden' fruit from the Garden of the Hesperides. The distinctive presence of the orange trees in Southern Europe is linked with the arrival of the Arabs who introduced them for ornamental value, and specifically for the heady scent of their flower, the orange blossom. Muslim kings of al-Andalus composed their courtyards with orange trees in all four corners, so when passing by on the first floor open terraces they could reach to harvest the fruits and inhale the sweet scent of the blossoms.

This series of paintings are a lot about light, and sun and shadows - creating a kind of magic in a contemplative space making you observe with a different state of mind. Jasmine and the spectacular and strange large leaves of 'Monstera deliciosa Liebm.' or Monstera deliciosa climb the crumbling white washed walls. The foliage and walls inadvertently make your eyes raise upwards towards the skies. Visiting inward facing palaces and gardens in Seville, give the feeling of being in a sacred space, where the sky is framed by these wild botanical walls. The light is beautifully coming inside, it's changing all the time as the sun acts as a sundial, the brightness shards of light illuminating alongside softened dappled cooling surfaces.

Mixed media on canvas in handmade frame 183 cm h x 85 cm unframed 202 cm h x 100 cm w m 4.5 cm d

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.)

Study for "Sagrada Familia" capturing the chiarascuro quaity of blooms in the shadows.

Oil, Indian ink and mixed media on antique Japanese parchment paper 79 x 79 cm

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 small ceramic greek jar takes the stage within the garden still-life. The pewter plate is filled with black grapes and the branches of a purple Cherry tree laden with fruit drape across the ground of the painting. The Romans were known to depict Greek artifacts and reproduction of Greek fresco within their own frescos. Imbued with symbolism and illuminated with bright light.

60 w x 45 h cm (Framed 86.5 w x 71.5 h cm) Oil, mixed media and gesso on board in Italian antique frame.

The great Frejús earthenware ceramic jar, its surface encrusted with pale yellow to ochre lichens like the rooftops of St Ives. It emerges into light from the shadows. 'Shoji' (not only relating to the art of Shoji Hamada) but meaning 'screen', it is the sliding paper partition screen. In his book on aesthetics, In Praise of Shadows Jun'ichiro Tanizaki comments oil the role of Shoji in the interaction of light and shadows and the power of their tones reflecting on subtle nuances of life. The importance of mindfulness and noticing the small things.

79 x 98 cm ( Framed 99 x 118 cm)

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

'Irori' is the sunken hearth in Japan used to heat the home and cook food. I imagine steam and smoke, this sacred space of fire. Here the Frejús jar (earthenware pottery) is almost invisible, forming in the bright light like smoke signals from the stove.

76 x 97.5 cm ( Framed 96 x 118 cm)

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