top of page


An online exhibition from 20th November until 31st March 2023

Click on image to enlarge

It was the time when we lived in Norfolk, during which in the recession of 1992 I lost my main livelihood of freelance illustration work. Due to most of my clients going out of business, I had much more free time to work on my painting projects, which had been so drastically curtailed in the 1980’s. I had the continuity to embark on more ambitious and complex paintings and to explore new techniques, for example with Under the Pier from 1993, which led to the exploration of richer light effects, as in such pictures as Falling Snow at Night from 1995, and in Fred Saunders Reading at Night. I also used more nuanced effects by using colours more sparingly contrasting them with black areas and prominent white areas in a painting, for example as in First Light and in The Wholesome Child.

Towards the end of the decade I began a series of church subjects, in visiting old churches. First with Dust Motes, inspired by a visit to the 14th century tomb of Blanche Mortimer in Gloucestershire, later with Sunlight on Old Stone. Then in 1997 with the most complex,  Shafts of Light in Lincoln Cathedral. The decade came to be perhaps my most fruitful period, with Glittering Dusk painted in 1996, the combination of several painting projects some from twenty years previous, unified to make a more satisfying painting.

Having the all important time to devote to painting, with little chance of exhibiting as my subject and style was out of favour; I could afford to spend weeks even months on a complex painting with no one to please but myself. 

bottom of page