Bio

I became a full-time professional artist in 1988 and although I’ve painted many different subjects – from Formula 1 racing cars to pets and houses – I’ve always had a love for wildlife, conservation and the British countryside.

When I first started painting, the background was of little importance to me – all I wanted to paint was the bird or animal, preferably on a white background. But, gradually, I began to understand the significance of the habitat as my interest in conservation grew.  Where the birds live is why the birds live – or, for that matter, don’t live. Quite simply, if you don’t have the right habitat, you won’t have the birds and it has become just as important to convey that in my paintings as to get the subject “right”.

My wildlife studies of birds and animals are an important part of my portfolio, but they are typically part of a progression towards a larger piece. My smaller landscapes are also usually part of that same development. Ultimately, that means I may well produce several different versions of a particular view – a change of angle, subject, light or narrative. Each, however, should instil that feeling of “being there” and I hope capture the essence of the British countryside.

For me, a painting is as much about what you leave out as what you put in. There needs to be some ambiguity to allow the viewer the freedom to see what they want to see. When a woodcock flits silently across a ride in front of you, you don’t see every leaf, every twig. What is stored in the memory is a feeling, the atmosphere. If I can capture that, I’m happy!

Recently I have collaborated with several of the country’s leading wildlife artists to produce the three beautiful books in the “Artists’ Impressions” series – “The Woodcock”, “The Grouse” and “Deer” (Quiller Press). And a little further back, I was a contributing artist to The Butterfly Book (Laura-Jane Foley) and I wrote and illustrated Holland & Holland’s The Nature of Game (Quiller Press). I also produced the illustrations for The Fishing Picnic and The Shoot Lunch (both by Prue Coats) and The Better Shot (Ken Davies).

I am one of the founding members of Redspot which was formed in 2001 by a group of like-minded wildlife artists who regularly exhibited together. Berrisford Hill, who came up with the idea, had long understood the solitary world of an artist and suggested it would be hugely beneficial to have a support group behind us and to be able to plan exhibitions together. Berrisford, who has recently turned 90, sadly stepped back from the group a few years ago, but has been like a ‘fun Dad’ to us all. These are artists at the top of their game and we produce a great depth of work in a range of styles.

I have always been fortunate enough to work on commissions and also to have the time to build a portfolio of work for one or two exhibitions each year.  Please don’t hesitate to contact me if you would like to know more about the process of commissioning a painting or to a arrange a private viewing.

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