I have been painting professionally since I graduated from the Ruskin School of Drawing in 1982. During these years I have painted full-time for two periods: 1984 – 1989, and 1999 to the present. The first of these periods was spent mostly in West Cornwall, (where, as a child, I had my first lessons in painting and drawing from the sculptor Paul Mount, and the mosaic artist Jeanne Mount in St Just in Penwith). I also painted for substantial periods in Portugal and in Italy. The second period has been spent mostly in Scotland and France. In between those periods of full-time painting I was researching and writing on art – studies which have had a very profound impact on my art-making.
In 2009–2010 I completed a research project for the Institution of Civil Engineers, consisting of twelve large paintings together with an online photo sketchbook.
In 2011 – 2012 I undertook two large commissions on architectural subjects for private clients – one focusing on London’s South Bank.
The second was for two large paintings of the construction of the Al Bahr towers in Abu Dhabi by Aedas architects.
Newlyn Art Gallery (1986, supported by Southwest Arts)
Roger Billcliffe Gallery, Glasgow (2001)
Kinsteary House, Nairn (2001)
Birnam Institute (2003)
Timespan, Helmsdale (2004)
Glasgow Art Club (2004)
High Street Gallery, Kirkudbright (2004)
Cork Street Gallery (2008 – with Tracey McNee fine art)
Dundas Street Gallery, Edinburgh (2008)
Working Party formed in 1985 with three other artists
Two installation / event works: 1985 at Newlyn Art Gallery and 1986 at Geevor Mine, Pendeen
Post-Doctoral Research Fellowship
Sculpture and Orality, University of East Anglia, Norwich, 1997 – 1999
Funded by the Henry Moore Foundation
‘The Indefinite Object: A history of ideas about things from the Northwest Coast’
Arts of Africa, Oceania and the Americas
Ruskin School of Drawing and Fine Art
Part I Archaeology and Anthropology 1st Class Hons.
Part II History of Art 1st Class Hons.
1995 – 1996
Lecturer in non-Western Art History at the School of the Museum of Fine Arts, Boston (BFA program)
Shadow House: Interpretations of Northwest Coast Art. Harwood Academic Publishers / Routledge. November 2000
‘How Traditional is a Chainsaw? Cutting a new path through forests of prejudice’. In: Critical Studies and Modern Art: Teachers, Artists, Galleries and Exhibitions, ed. Liz Dawtrey, Open University and Yale University Press (1996)
‘Our originality – their tradition: writing about non-Western art forms’. In: The Culture of Craft, ed. Peter Dormer. Manchester: Manchester University Press (1997)
‘“The bot anD the myc”: making and theorising in contemporary crafts’ In: Ideas in the Making: Practice in Theory ed. Pamela Johnson. London: Crafts Council (1998)
‘Inscriptions in Snow and Stone: the ethnic landscaping of Andy Goldsworthy’s Sheepfolds and Touching North’. For ‘Sculpture and the Garden’ organised by the Henry Moore Institute, held at Bretton Hall, Yorkshire, in summer 1998
‘Combs and Smoke: the relationships between objects, texts, and myths’. For Conference on Northwest Coast at the British Museum, May 18-20, 2000