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'Notre Mere La Mer.'      3. Cathy's next contribution

Work in progress, image coming soon...
'Notre Mere La Mer'      2. My contribution.

I made some drawings to find the form of the Mermaid. I think because I had just drawn 'Harvesting Goddess' in the many armed form of a Hindu Goddess, I made her many armed also. Cathy had told me she'd had a commission to paint an Angel, but could get no further than this Abstract image. By making some of the top curves more symmetrical I found I made  a suggestion of wings which related to this initial intention. By making some of the lower curves more symmetrical, I found I'd made a 'Symbolic Virgina.' This was the source of the life in the sea, it was the opening in the Marine Goddess' mysterious swirling form from which flowed the Marine plants and creatures. Then I started to populate the painting with Marine life. First I drew the forms on paper, then worked them onto the canvas. When dry, I put transparent glazes of 'underwater sea colours' over everything, to try to place them 'in the water,' not just 'on the surface' of the canvas. My last lifeforms were the Dolphins at the top of the picture. Then I took the painting back to Cathy and happily she loved it, but thought the Mermaid was a bit stiff. I agreed, and suggested she add more movement as her next contribution. At the time of writing, 01/01/15 she has drawn another Mermaid with flowing curves, but not yet had time to place her on the canvas and paint her.
'Notre Mere La Mer'   1. In the beginning.

I
visited the home of my old friend and fellow Fantasy Artist Cathy Ogliastri, while there I saw an interesting abstract on her wall with a rich, textured background. I commented on it, and she said if I could see anything to do to it, to take it and work on it, as she was completely stuck with it. I thought it would be interesting to do another work with her as we had done a painting together many years ago when we were lovers. I put her painting at the end of my bed and looked at it each night and morning. In a week's time I had a good idea of what I wanted to do to it, clearly it was an underwater painting, and was full of sensual curves and was mysterious.
'Lolita Vampire.'     Pencil on Paper.    31 x 14 Cms    Framed: £175    10/2014

A Fantasy portrait of a young woman who through no fault of her own has become a vampire. Perhaps fortunately she is only affected by vampirism on and around full moons, at other times she can lead a normal life.

'Harvesting Goddess, evening, Ripple, Kent, UK.'    Coloured Pencil    550 x 380 cms

When I lived in Dover, Kent I needed to get away from the miserable damp flat I lived in as much as possible, so I'd go to villages around where I found a good dog-walk for 'Sam' and a good 'real Ale' pub for me at the end of it. Ripple between Dover and Deal was such a place. The village had 'the Plough Inn' and it's own real Ale Brewery 'Ripple Steam Brewery,' a wonderful real pint of Ale from just around the corner!
One evening I was moved by a wonderful sunset when walking through a wheatfield. I imagined a Goddess of the harvest walking through gathering stocks of wheat which she cut with her golden sickle. A badger and fox, recognising her, beg for caresses. Perhaps she is Demeter, or Gaia; I have used the representation of Hindu Goddesses as the many armed bodies add to the sense of 'other,' of power and mystery. I came across many gods and goddesses on my travels around India, this is probably influenced by Luxmi, and Parvatti. I intend to do an Acrylic painting from this drawing.
'Banker's Apocalypse'             Oil           30x20 ins.          £500.00

Conceived in 2011 when FURIOUS with the bankers. The painting started in 2011, but was finished much later when time permitted.
It is a deliberate attempt to produce a Naive painting, as a 'Painting Of The People.' This is to accompany the image of 'The People,' rioting and celebrating the demise of the banking system.
 The central building is the Bank of England, the 'Cathedral' of banking. 'The Archbishop-like' figure in the foreground is Mervyn King, then governor of the Bank of England. Being 'the Governor,' I made him 'High Priest of the Cathedral of Banking.'
The other burning buildings are all be Banks or investment companies.  On one I intended to have a smoldering, crumbling 'Goldman Sachs' sign on the burning roof. One of them has RBS on it. Angels are blasting the buildings  making them burst into flames.this is to emphasize that it's not just a 'mob of rioting Yobs!'  I'm not a Christian, but believe Christ would have beaten the bankers out of their 'ivory towers!'
There is reference to the 'Hell panel' in
Hieronymus Bosch's typtrich 'heaven and hell.' The nasty green goblin-like banker figure, sitting on a throne labeled 'The Banking System,' is direct reference to a bird headed figure eating people in Hieronymus' painting. This 'Goblin Banker' is shitting out coins into a 'Bonus pot latrine.' Naked poor people are chained to his throne-commode, performing mundane tasks, some rioting people are cutting them free. The 'Goblin Banker' randomly picks one up and eats them. He is playing with dice to symbolise the game of chance played with our cash and our global economy. 'The people' in the painting are either chasing bankers or making merry, making music and dancing in celebration of the demise of 'the system.'
'Dover Castle, Evening Light'       07/2013         Oil         16 x 12 ins.          £250.00

Looking across the valley to Dover Castle from the Downs opposite. This particular evening the setting sun, behind the observer, threw pink and apricot light onto the castle walls. A gorse bush insisted its presence with its bright Cadmium flowers. All was calm and peaceful.



'Lady Van Dyke out clubbing tonight'    Oil     50x27.5 cms.    4/11    £400.00

This painting was based on Anthony Van Dyke's portrait of his wife, Lady Van Dyke. I have imagined her out clubbing in a club of her era, somewhere like Hubert Dashwood's 'Hell Fire Club.' The painting was suggested by the frame that was given to me by Ms. Debora Colam of 'Castle Fine Arts Studio,' Guston.

            
'Lady Van Dyke entertains tonight'                  Acrylic                   £400.00

At the Tate Gallery there was an exhibition which included a portrait of Lady Van Dyke by her husband Anthony Van Dyke. The strange shaven head hair style and
her general appearance   gave her a bizarre alluring eroticism. I decided to use the image as my theme and enhance or exaggerate the eroticism with my imagination. I bared her breasts and revealed her belly with lacing and cut away her dress revealing the tops of her thighs.
This painting was excellently framed with a blue velvet inset slip by 'Castle Fine Arts Studio,' Guston.
   
'Creatures of the Forest'                Pencil.                  £150 + Framing costs.

The drawing working out the composition of two fauns in love, for painting 'Creatures of the forest.' Oil


(The painting can be seen in All recorded Artwork.)
 
'Stonehenge with cows'           Coloured pencil.           £300.00 + Framing costs

'Titania Encounters Oberon at the Green Man's Gig'          Oil.                £600.00

An imagined first meeting of the youthful Titania and Oberon at a musical gathering of Faery Folk organized by the Green Man.

'Guitar for Playing Samba'            Oil on Wood, Mixed Media.                £600.00

I love the warm sensual rhythms of Latin music. One day I came across some unplayable guitars that were dumped in a skip. Looking at the back there was a patina that due to the guitar's shape reminded me of a coloured or black girl's skin. So I painted a nude back on the guitar, with beads of sweat and spotlight highlights. I modeled a face in room-drying clay onto a half polystyrene wig-stand, and placed it on the neck of the guitar. finally I purchased a black wig and eyelashes to finish the effect.        
           
Side view of 'Guitar for playing Samba.'

'Mother'                     Acrylic                         £450.00

Our species, Homo Sapiens evolved in Africa, and Africa nurtured us until we were ready to move on and inhabit the whole world. So we are all Africans, and Africa is the mother of us all. The Lactating breast at the centre of the composition and of Africa, symbolizes this nurturing quality of our motherland.


'Angels and Demons' double sided room dividers. Oil

I found a pair of mirror frames after a boot fair and realised that canvas could be laced around them to make an interesting double sided presentation of a painting. I brought them back to my studio and developed the idea.


This side: Demon boy; Angel girl

'Angels and Demons' double sided room dividers. Oil

The other sides: Angel boy; Demon girl

No one is totally good or totally bad, we are all somewhere on a sliding scale between good and bad. Hopefully we aspire to become better. Few of us have deliberate bad intentions, but bad can result from good intentions not thought out. For this reason I have the mirror image of the picture on one side; say Angel girl,  on the other side;  Demon  girl.

Angel Boy, Demon Girl.  Oil   2 double sided room dividers, one male themed, one female.
 
£700.00 Each

Angel Girl, Demon Boy.  Oil  The other sides of the Dividers.


'Retrieving a lost soul fragment.'            Acrylic.          30x30cms.             £250.00 


I read a contemporary Shamanism book, where the idea was proposed that at times of great trauma especially in childhood a portion of the soul can 'break away' from the main soul and hide away in some distant place where it feels safe. A shaman can travel out in trance state, find the soul fragment and heal and coax the soul fragment back to  the person who 'houses' the soul. As I believe some of my psychological problems and baggage stem from my unhappy childhood, I thought I'd attempt a 'Shamanic painting' to see if it may help to make me 'whole' again. It shows my spirit reaching out to embrace my soul fragment to bring him home. I wondered if my intention may be enough to heal the rift. However I don't believe it helped at all.
'Dungeness Crab.'                  Mixed Media.                     Unfinished.

This crab was made in 2010 in my Folkestone Studio, where I lived at the time. It is unfinished to date, and is to be in a Museum display case and could perhaps be desplayed in a local Museim. It is to have a Latin name and to be in a glass case with a legend of it having been caught off Folkestone, but the specis had mutated in Dungeness in the warm waters coming from the Nuclear Power Station. They are apparently spreading along the coasts both sides of Dungeness. They are of particular interest as they have small human hands with which they manipulate and examine things.
The body of the crab is the skull of a goat that I found in a forest in the Eastern Pyrenees. The hole of the crab's mouth is the hole at the back of the skull that permits the spinal chord to enter the vertebral column.
A detail of the 'Dungeness Crab,' showing it's 'Human - like' hands.

‘A household shrine for a God of our time.’      05/04     Installation, mixed media.        £ 1,000.

This work has probably been influenced by my travels in India in the late 70’s and early 80’s, where I encountered ‘Luxmi’ the Hindu Goddess of wealth, from whom our word ‘luxury’ derives. In appearance there may be influence from medieval Christian Icons.
I often look in skips and in the rubbish bins particularly after car-boot fairs. Other people’s throwaways can often inspire a work of Art and become the raw material for it. One day I found this ‘Twinky-Winky’ in a skip, and was struck by his presence. The purse intrigued me, as I hadn’t ever seen an episode of the ‘Teletubbies’. The presence and power in this old purse-holding much played with Twinky-Winky, quickly suggested a God of wealth and finance. There was a ‘capricious innocence’ about him, that seemed to fit with the idea of a wealth god. Not all who try and work hard, or who have great original ideas manage to find wealth. He seemed to be saying: “Shall I give you some? You’re nice; you can have some! Don’t like you; can’t have any!”
 A process of about 4 weeks resulted in this finished work, during which time ‘jewels’ were collected to embellish the outside and inside, and various methods of shrine construction experimented with. ‘Twinky-Winky’ was further aged by rubbing in oil paint, and wax polishing him with brown bee’s wax furniture polish. I wanted an effect where the shrine seemed like an artefact from a past civilisation, so that we look at it as if from some time in the future and assess our present civilization accordingly.
On the façade of the shrine is written ‘Gimmie More Money.’ This is the mantra chanted by the followers of the Money God. Those wishing for wealth should stand in front of the shrine, hands together in prayer and repeat the mantra for 20 minutes. Busier people should make a donation to Twinky-Winky that may be returned as financial good fortune many times over.
With this work the Artist is observing that the ultimate God of our Civilisation is Money. It also poses the question, are we created by God, or do we create our Gods?


The shrine showing the donation box, religions all seek to gain money to support their priests and temples. They always preach humility but keep their priests in comfort often with money donated by simple, frightened poor folk.
The Pope is an extreme example of this attitude.


'The snow queen of Narnia'                        Oil                          £500.00

I bought this frame in a junk shop in Margate. I felt it demanded some very strong character to be painted in it, perhaps Napoleon I thought... but I have no feelings about him. I then thought about The Snow Queen of Narnia and decided this would be my theme. I painted her as I saw her in my head having read the book, using a young lady as my model. I added the small skull to the top centre of the frame. Because I wanted the picture to be unusual or special in some way, I decided to make the hands penetrate the canvas so they break out of the reality of Narnia into our reality; so we are not just menaced in a fantasy world but here in our safe reality.


Detail showing the hands penetrating through the canvas of 'The Snow Queen.'

'Light after the storm'                      Acrylic                             £400.00

After a storm there was this amazing sunset burning through the blue-grey clouds. My dog Max took the foreground and colours on the boats and around the harbour burnt out with unreal brightness.

 
'The Warren Folkestone'                Acrylic                     £400.00

I love the bay to the east of Folkestone and the Warren behind it, it is one of my favorite parts of the Kent coast. This is a path my dog and I frequently use to reach the bay.

'Folkestone Harbor evening'                   Acrylic                           £400.00

I was particularly pleased with the way I caught the light in this painting, the orange glow that hung over the horizon and the reflected light that painted the harbor wall a red hot orange.


'The Entomologist's Pleasure Dome'
                       Oil                             £1,000

Shelly's Poem 'Kubla Khan' starts: "In Xanadu did Kubla Khan a stately pleasure dome decree." These evocative words stimulated a fantasy in my mind of an entomologist's pleasure dome, where an eccentric Scientist has created a pleasure dome with jewelled insects and lovely adies. Are the huge jeweled beetles mechanical or the results of his genetic experiments. Is the winged black girl in costume or the resultant mutant of another genetic experiment? You can decide! I am fascinated by insect life and have always studied them and their complex joints.

 
'The revelation of the spirit of Castelnou'  (1999)    50 x 60 cms    Acrylic  £600.00

A portrait of Etiennette, mother of the present mayor (written in 1999) and wife of the previous mayor of Castelnou. When I was working late in my studio/shop when I lived there, she would often come over with a saucepan of soup or stew to sustain me. Like the last queen of Castelnou, she was known by everyone in the region and she knew everything that happened in the village. So for me, she represented ‘the spirit of Castelnou.’


‘The Green Man, Guardian of the Forest.’
   Oil on board    03/04      £900.

Painting such an English image as ‘the green man’ is probably a subconscious reference to my returning here to live and work after 15 years of living in France.
At this time we are destroying our forests at an alarming rate, threatening many creatures with permanent loss of habitat, and extinction. Our actions cause climate change and therefore we threaten ourselves.
We can dream of some spiritual being such as ‘the Green Man’ attacking the forest killers and saving the Earth! But in fact we can find no hope in these dreams. It is us who must save our forests and save ourselves, each of us must rethink our priorities and change ourselves.
Fairies and other nature spirits represent for me the mysterious forces in nature.  When we walk in forests and other wild places we can often sense a presence or feel we are being watched, it is this presence that is symbolised by nature spirits, how else can it be represented? From what source comes the power enabling delicate plants to push up through tarmac and crush concrete, or to conduct chemical warfare with the insects or make medicines for the animal kingdom? For me all this and much more is symbolised by fairies, fawns, dryads, nyads, nymphs, gnomes and such like
.


'Reflections on a broken dream'      (2002)           60 x 90 cms          OIL              £1,000.

The emotion expressed by the painting is the sadness of a finished love affair. The inspiration for the landscape is from the river at Vingrau (where the lady lived) at sunset. The trees were perfectly mirrored in the slow moving water giving a mysterious magical feeling to the evening. In the painting I decided to have a double symmetry on an axis both left to right and top to bottom. This increases the magical quality. In the centre the couple are together yet separate. In their reflection they embrace. Perhaps this is a memory of the passion now passed as they reflect on what was. It could be seen as the hope of intimacy to come.
'The Second Tony Palmer.'  (2002)    Oil  on a split slice of Chestnut trunk.    £500.00
     
When I lived in the Eastern Pyrenees, Le Boulou had a biennial competition of fine art. The theme was 'the second universe.'  This was my contribution for the event, that no Artist was awarded the winning prize, though we had all paid to enter the competition.
The board below the self portrait bears the message in French:      
  'The second solar system is found in the second Milky Way galaxy, in the second Universe. In this Solar System the second planet Earth is found. The unfortunate people of the second Earth have very fragile heads that split open at times of great stress and anxiety.'
The painting was done at a time when I realised I couldn't make enough money to live in that part of France, and I'd have to return to England, leaving my children behind with their mother. It encapsulates my worry and anxiety at the time.                


'In a Universe not far from ours'       (2002)         30 x 37 cms          OIL         £250.00

A fun painting inspired while looking at a Television documentary on insects where dung beetles were rolling a ball of dung along the ground. I saw in my head the two beetles flying with the earth between their legs and the rest of the picture evolved in the process of painting.


'Our sick society at the beginning of the third Millenium'   (2002)   20 x 24 cms    Oil on wood
   £200.00 

The writing is in French as I was living in France at the time. 'Our sick society at the beginning of the third Millennium. Fear, Anxiety, Injustice, Paranoia, Insecurity, Frustration, Perversion.   Around the centre: Selfishness,  Misery, Anger, Self Destruction, Pedophilia.  It was a response to the 'New age Bla-bla' at the time of the new millennium; 'auguring a new golden age'  when man evolves spiritually.

'Gaia the source of plenty    (2002)        89 cms diameter        Oil on board        £600.00

At the centre of the painting Gaia, the universal mother, spirit of the Earth, holds our planet in front of her belly. An endless spiral of plants flows out from the Earth, over the picture frame towards the observer. This represents the abundance of the plant kingdom that nourishes us and provides the air we breathe. Animal diversity is represented by many insects, the most varied class of animals, that crawl over or fly out of the painting.

Detail of 'Gaia the source of plenty.'


'Between Heaven and Earth'                      Oil                         £350.00

The tree symbolizes the tree of life and it is the connection between the heavens and the Earth. Its roots are in rocks which contain Earth spirits. This symbolizes the material world. The Birds at the top of the tree symbolize spirituality and the meditating Buddhist a link between the two.


'Once upon a time'             (1993)              45 x 60 cms           OIL               £600.00

A nostalgic painting about another time and place with music and merrymaking among a multitude of different sorts of folk all enjoying the company of each other. It reminds me of illustrations in Children's story books when I was a child, though I had no particular story, book, or illustrator's style in mind when I produced it.


'Voyage on a dragon’s back'        (1987)          22 x 30 cms           Acrylic          £500.00

I sketched the dragon from one on the side of a Chinese vase. I wanted to produce a fun happy dragon, rather than a menacing European one.  This Dragon is playfully giving two girls a ride through a magical cloud-land.


'Fire and Ice'                                Acrylic                                    £300.00


Fire and ice are two opposites that can't be united. The fire burns with passion, constantly rippling and flickering. The ice freezes solid and is immovable. What will become of them?


'Impermanence'        (1998)           24 x 35 cms             Oil               £400.00

'Time waits for no man,' the Rolling Stones sang, and it waits for nothing that exists; time changes all. The young girl's body will change and sag, the petals will fall off the wilting rose and they will rot, the Death's head moth is a symbol of death, the ultimate change to all living things.



'The Emergence of new man'      (1999)         100 x 90 cms          OIL               £700.00

The sun and moon at the top of the painting represent male and female energy that must be in balance in new man. The chrysalis represents old man with his inflexibility and aggression from which new man is emerging. His pale hairless body suggests the necessary spiritual evolution. He is holding a baby which symbolizes the need for compassion and nurturing in the place of fear and confrontation. The woman’s face looking out of the tree branch of the tree of life, represents mother-nature observing a long waited for evolution in man-kind.

'Shaman in bird costume'           (1997)            24 x 31 cms        Pastel              £200.00

A pastel drawing finding expression for the emotions emerging from the end of a love story that wasn't allowed to run its course and broke the hearts of both the lovers involved.


'Angel with fire bird'           (1997)              60 x 80 cms                Oil                  £500.00

Based on my then Japanese lover ‘Chika’ reflecting our sadness at the end of our love story that was unable to flower and bloom to fruition.

'A thousand summers'            (1996)            45 x 61 cms              Oil               £500.00

A portrait of a wonderful Japanese friend Chika who said her name means ‘A thousand summers’. Painted while we were still in love, before our story was torn up without a natural ending.

'The Primeval Egg'       (1987)         60 x 80 cms          Acrylic             £1,000      

(Written in 1987)
This is a creation myth incorporating the creation, or ‘re-creation’ of the creator. Our physicists tell us that we live in an expanding and contracting universe which is at present expanding. Hundreds of years before this Hindu mystics told us that the expansion and contraction of the universe is like the breaths of God and that between successive creations Vishnu drew the universe into his body which reclined in the Golden Egg of Brahma. After a period of time the universe is recreated from his dreams.
I imagined the entire multidimensional universe’s expansion ended, and its contraction into an egg of light so that all the parts return to the centre. It seems to me that any concept of God must view him as ‘all that exists’, the one. This moment of unification would result in the ‘material substance’ of God having one concrete form. This would surely renew and regenerate ‘the one’, so inside the egg I have a foetus, not an adult. I cannot conceive of a God in a state of perfection, as perfection is a state from which we can only decline from or stagnate in, not progress from. Thus a vigorous creative God must be constantly changing; becoming, always growing.
In the painting the egg of light has burst open to reveal the sleeping creator whose dreams float out into realms of probability where they await the evolution of favourable conditions to achieve actuality. An aura of galaxies is being flung into space from the egg; energy becoming matter.




'Spiral Mandala'            (1988)             27 x 21 cms          Acrylic              £400

‘Spiral Mandala’ was the first of the three mandalas and was created as a poster for the exhibition ‘Sacred Realms’ in London 1988.



  

'Egyptian Mandala'        (1988)         27 x 21 cms         Acrylic         £400.00

In the ‘Egyptian Mandala’ I used ancient Egyptian symbols and combined them in  my own way to produce the Mandala.



'Earth Mother Mandala'          (1989)            27 x 21 cms           Acrylic           £400

All three Mandalas for £1,000

Mandalas are pictures that aid meditation. Our attention is drawn towards and held by the centre of the design. As the mind wanders away the design takes ones attention back to the centre.

In the ‘Earth Mother Mandala’, the symbolic vagina and the breast at the centre symbolize the source of our existence and our nourishment. The four elements; earth, air, fire and water are represented at the four corners of the painting with four states of womanhood.



'The One behind the many'    (1987)     75 x 60 cms    Acrylic      £700.00    

(Written in 1987)

Above all this is an attempt to give symbolic form to the formless. In the center an androgynous face surrounded by a rippling halo of coloured light speaks the words “I am”. This face represents ‘the one’, a personification of ‘all that is’ unified as a being. Drifting out through a tunnel of lights are a few of the aspects of ‘the one’ that have fulfilled the needs of the mass psyche for certain periods of time for various groups of people. I believe we create our own Deities on in accordance to our needs.
There are circles or ‘bubbles’ containing Isis, Venus, Pan, Jesus crucified and as a part of the Nativity, Buddha, Eloim (taken from Blake’s ‘Eloim creating Adam’, as Blake’s white bearded figures have become the archetypal image for the God of the Old Testament), Krishna, Shiva and a fertility Deity from South Africa. All represent aspects of the same unknown creator.
The essential message is that we are all part of the same one. We are, along with everything else, made of ‘God stuff’ and ours along with all other consciousness is ‘God consciousness’. While God is greater than the sum of its parts, we are all unique parts of that whole.

'Enchanted pool'      (2001)      48 x 67 cms       OIL         £600.00

This tree and the pool exist in the forested mountain behind Amélie-Les-Bains. The play of light and shade on the rocks suggest beings and creatures from another reality. This gives a mysterious feeling to the place which I have enhanced by letting my imagination exaggerate and multiply the beings.


'Full Moon Rising'           (1984)           25 x 17 cms            Pen and Ink               £450.00

Legend has it that Unicorns can only be seen and approached by young virgins. A young virgin encounters a Unicorn on a full moon night while walking along a cliff top.

 

'The Wizard'           (1984)             25 x 17 cms               Pen and Ink             £450.00

A wizard, guardian of the Forest, watches intruders accompanied by owl colleagues.

'Unity in diversity'      (1986)          32 x 39 cms          Pen, Ink and wash               £350.00

This painting is about the unity of opposites forming the whole. Birth and death, male and female, plant and animal are all springing from one source.  This was painted at the time of the last visit of Haley’s comet and it is represented here as a visiting consciousness passing through behind the Earth. The painting started with the free-form curve at the back of the head, with no idea what would come of it, then my face, looking in a mirror. It was after Christmas and I'd caught an octopus on Christmas day, having spent the eve in a cave in a deserted bay.The octopus became our Christmas dinner with rice and veg etc. we'd brought with us. Perhaps this suggested the octopus form.



'The Artist distracted by his fantasies while drawing in the mountains'  (1986)  Pen, Ink and wash.    £300.00

I lived in Fataga village in the mountains above Playa del Inglese, Gran Canaria, where I was teaching English for a couple of years. I would walk over and through the mountains and find little bays on the coast off the tourist route. This drawing, and the one below were done on such trips and finished in my studio.



'The temptation of St. Anthony'     (1986)         Pen, Ink and wash        £300.00 

An isolated tourist-free bay where My then wife Lise and I spent Christmas day. I drew this on the beach and finished it later at home. I just let the images flow from the pen without intervention from my brain.

'Dragon Slayer'        (1986)          19 x 26 cms        Pen and Ink         £300.00

A knight in armor does aerial battle with a flying Dragon. His steed is a Butterfly, able to rapidly change direction, rise, fall and alter speed.   


'Fairies that haunt the subconscious'        Mixed media                £250.00


Not all fairies are delicate ethereal 'girly' things!

'Mushroom Fairy'   (1983)        16.5 x 25 cms     Etching     If any examples are left,    £60.00 

'Fly Agaric Fairy'      (1983)       8 x 12 cms         Etching          If a few  remain,    £30.00


'Edmund meets the Snow Queen and her Dwarf'. Illustration for 'The Lion, the Witch and the Wardrobe'  Colour Pencil.
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