Archive

Gossamer Flight

Gossamer Flight
Etching on Stonehenge paper
8 x 5 in (20 x 13 cm)
2016

Edition of 25

These etchings are made using a non-toxic method of printmaking with an adapted Copper Sulphate solution from a swimming pool store. I use aluminium plates which are easier to source on a small island than zinc.

Pegasus Series

The Pegasus works stem from my father's RAF flying manual. He was a mechanic after the war and used the manual as part of his training. As a child I remember being fascinated by the beautiful engineering pullout drawings of the aircraft. One particular engine was the Pegasus. I made copies of the drawings which were mainly fluid distribution markings and used them to make several collages. I then decided that I could actually design my own flying machine which in turn led to the construction of a wire model. This I used as the basis for a number of pen and ink and charcoal drawings which then fed ideas for paintings. I must confess that the paintings coincided with the exhibition of Peter Lanyon's paintings at the Courtald and I had in my head the idea that the air above is as turbulent and voluminous as the sea. For the longest time I was plagued with the reoccurring dream that I was flying a plane that I couldn't land. My plane expertly weaves across the land and sea, carrying precious cargo.

I Was On My Dad's Shoulders

I Was On My Dad's Shoulders
Etching on Hahnemühle paper
8 x 5 in (20 x 13 cm)
2016

Edition of 25

These etchings are made using a non-toxic method of printmaking with an adapted Copper Sulphate solution from a swimming pool store. I use aluminium plates which are easier to source on a small island than zinc. I used to love going to airshows as a child but was terrified when a jet flew low over our heads when I was sitting on my dad's shoulders.

Pegasus Series

The Pegasus works stem from my father's RAF flying manual. He was a mechanic after the war and used the manual as part of his training. As a child I remember being fascinated by the beautiful engineering pullout drawings of the aircraft. One particular engine was the Pegasus. I made copies of the drawings which were mainly fluid distribution markings and used them to make several collages. I then decided that I could actually design my own flying machine which in turn led to the construction of a wire model. This I used as the basis for a number of pen and ink and charcoal drawings which then fed ideas for paintings. I must confess that the paintings coincided with the exhibition of Peter Lanyon's paintings at the Courtald and I had in my head the idea that the air above is as turbulent and voluminous as the sea. For the longest time I was plagued with the reoccurring dream that I was flying a plane that I couldn't land. My plane expertly weaves across the land and sea, carrying precious cargo.

If Anyone Knows Why

If Anyone Knows Why...

Digital image on archival paper
Edition of 3
36 x 24 in (91.5 x 61 cm)

2007

I struggle constantly with the notion of identity in my work. I have lived in the Caribbean for nearly 30 years. I have no West Indian heritage so how does my work hold its own in a society that has strong roots to its past? I deal with this by making art about me and my own life experiences. I am affected by what happens in the present and the past. I am shaped by those early life experiences growing up in the UK. The longer I live in the Caribbean, the stronger the desire to link with the past. Time is an important element. How much time rather than money should a person invest in a country to earn the right to a national identity?
I took this photograph one afternoon in my old studio at home. I was angry at the time with the application process to obtain Caymanian status. Part of the process involved publishing my photo in the local newspaper along with hundreds of other people. This allowed any Caymanian the opportunity to write to the immigration board to register disapproval about the applicant as to their suitability. It seemed wrong on so many levels. The photo was shot on a self-timer on the spur of the moment. I wanted to recreate a prisoner mug shot scene. I am holding my advertisement number instead of my name. In the background my timeline instead of height is hastily and angrily drawn and the insulting statement on every applicant’s photo positioned above my head drawing parallels with the biblical custom of naming a criminal with their crime on the crucifix. We all looked like criminals in the photos as if applying for a national identity was a crime in itself.

Industrial Landscape

Industrial Landscape

Oil on canvas mixed media

51 x 76 in (130 x 193 cm)

2014

A painting from the exhibition The road not taken, 2014. I began the piece earlier in the year and it was taking a different form but when I visited the UK in the summer I took a train from Oxford to St. Ives. The train changed at Didcot Power Station beneath the iconic cooling towers. I didn’t appreciate at the time that these would be the last time I would see these structures. They were landmark features that strangely brought comfort and security but have now been demolished. As a child I remember being scared of the dark and sometimes at night if I couldn’t sleep, I could see these towers lit up in the distance from my bedroom on a clear night. In my childish head I used to take comfort from the fact that I knew people were working there through the night and I wasn’t alone.

Pink Field

Untitled – Pink Field

Oil on paper
36 x 41.5 in (91.5 x 105.5 cm)
2014

A Walk in the Park

A Walk in the Park

Oil on canvas

60 x 60 in (152.5 x 152.5 cm)

1993

This painting was shortlisted for the Royal Overseas League Exhibition in London juried by Sonya Lawson, John Hoyland RA, Andrew Brown and Anthony Whishaw RA.

Study for the Five Sisters

Study for the Five Sisters

Pen & ink, mixed media
39 x 82 in (99 x 208.2 cm)
2010

From the solo exhibition The Road Not Taken at the National Gallery of the Cayman Islands 2014-2015

Created during a 3 month residency at the World Heritage site of Ms Lassie’s home on South Sound, Grand Cayman and exhibited as part of The Road Not Taken solo exhibition.

Nighthaarish Reality

Nighthaarish Reality
Oil on canvas, charcoal, pen & ink, oil pastel, pencil
37 x 56 in (94 x 142.3 cm)
2014

From the solo exhibition The Road Not Taken at the National Gallery of the Cayman Islands 2014-2015

Bluebells 2014

Bluebells

Oil & mixed media on board
39.5 in x 41.5 in (100.3 x 105.4 cm)
2014