In the Studio

I have a number of oil painting ideas on the go this month in the studio, but I'm being frequently distracted by experimenting with a few intaglio printmaking ideas.

They focus mostly on trying to find ways to create subtle positive tonal areas, as well as line, together on a plate - a combination of drypoint and carborundum printmaking.

Early on I tried making solutions of carborundum and French chalk mixed with solvent cement and painting on plates of polycarbonate, thin MDF, or card.  By changing the amount of chalk and adding fine, medium or coarse carborundum, and diluting with acetone, produced different densities of mark that often printed well.  The main problem was the drying speed of the painted drawing - almost instantaneous which produced a 'sticky' resistance that hindered fluid mark making.  There were other issues too.

More recently I've been using methylated spirit based shellac paints as the medium to carry the carborundum powders and chalk.  The drying is much slower, and there's plenty of time to work the painted surface.  The surface, once cured after a day or so, prints very well and doesn't seem to degrade - but I wonder what would happen with a large edition? 

Most exciting of all is that painting on a tusche resist before the over carborundum mixes - then washing it off - can quickly create a beautiful and subtle complex of painted and drawn marks when printed. (See test plate, right).

A bit more work on what's possible, then on with making a few new prints!

January 2025

In the Field

Alaska

Late August / early September 2024

Twenty seven years ago I'd been a part of the Artists for Nature Project in the Copper River Delta of Alaska. 

This year we were invited back to investigate the possibility of returning over the coming two years to undertake another project - only this time the story would be very different.

Read more..............

Jacket artwork for new book

The life, death and afterlife of one of the true icons of extinction, the Great Auk

Since 1950 more than seventy percent of the world's seabirds have been lost through human activity. The Great Auk was the first species to go. A goose-sized seabird superbly adapted for underwater flight, their lives were idyllic prior to the appearance of humans: three months ashore to breed, the rest of the time riding the ocean waves.

However, Great Auks had one main predator – humans. Having harried the bird mercilessly for centuries in the east, the Europeans who stumbled upon the Great Auks' New World breeding colonies in the 16th century couldn't believe their luck. Seabird colonies became fast-food restaurants for hungry sailors, with mariners gorging themselves on the liver-flavoured auk flesh for more than two centuries.

The last two were killed in 1844, but the Great Auk lived on, with collectors obsessing over their skins, eggs and skeletons through dodgy dealings involving staggering amounts of money. 180 years on, leading ornithologist Tim Birkhead found himself the recipient of the archive of a man who accumulated more Great Auk skins and eggs than anyone else.

Rich with insight and packed with tales of birds and of people, this astonishing book reveals the Great Auk's life before humanity, its death on that fateful day in 1844, and the unrelenting subsequent quest for its remains – the first seabird ruthlessly destroyed by human actions, and an all-powerful symbol of human folly and the necessity of conservation.

See more.............

About the Artist

Obsessed by the natural world I work out and about in wild places sketching and painting wildlife and landscapes.  It is the rhythm and restlessness of nature which fascinates, and which I try to capture.

This site aims to show some of the studio processes and field experiences, the development of finished work or highlighting work in progress.  There might be news about exhibitions and other events where paintings and prints are on show.

See Artist Profile page for more information.