I was introduced to printmaking on my art foundation course, and was sent to draw outside for two weeks in a very cold snowy landscape followed by a week in the studio struggling with the complexities of stone lithography. This experience taught me two valuable lessons; the importance of drawing and the personal dedication needed to exploit the technical and creative challenges offered by fine art printmaking. Lessons which I have never forgotten and have always tried to apply in my work.

I never really ‘plan’ a print other than to bring together a number of ideas, drawings and thoughts which somehow coalesce when I’m using the press. I like the idea of the ‘unknown and unexpected’ as this gives me the opportunity to exploit accidental marks and textures by layering colour and experimenting with different inking techniques.

I enjoy using a range of print processes and until recently have been exploring cut and etched lino techniques in combination with mono print.

I am interested in primitive/ancient artefacts, history, architecture, archeology, folklore and natural forms, elements of which ebb and flow in aspects of my work. My current interest in medieval mark making and church architecture is providing me with a range of ideas for a new body of work. Currently I am making collagraph blocks and exploring the complexities of triple viscosity inking.

I like the work of many different printmakers but some of my favourites include: Michael Rothenstein, Edward Bawden, Mary Fedden, Norman Ackroyd Shiko Munakata, Serena Smith and Sue Baker-Kenton

I am a member of Leicester Print Workshop, and Sheffield Printmakers.