Acrylic, paper, charcoal, gouache, oil pastel, water soluble crayon, on canvas, 60 x 76 cm. 2022.

the tidal river mouth of the Eden, its sandbanks, its divided streams, sea eagles, seals, old fishing posts – all that and the cathedral sky in St Andrews Bay.



Acrylic, charcoal, water soluble crayon, linen on canvas, 2022, 61 x 61 cm

part of a series about Kinshaldy beach and the Eden estuary.

I had planned to paint over all of the first layer with its strong lines and paint runs. but stopped as I became aware that the charcoal lines done from my sketchbook notes were actually doing really interesting things with the under layers. As always, the fact that this has a piece of raw linen wrapped edge to edge across it, makes something special happen.


Acrylic, paper, linen, oil pastel, charcoal, soluble graphite on two canvases, diptych. 2022. 80 x 120 cm.

“I’ve torn my scarf into shreds; I’m all wrapped up in a blanket.
I took off my finery of pearls and coral, and strung a garland of wildwood flowers.
With my tears, I watered the creeper of love that I planted;
Now the creeper has grown spread all over, and borne the fruit of bliss.” (Meera Bai)

This is a painting that was a puzzle for months, until I stuck the large pieces of linen onto it, which freed me up to fit it into this series, give it a subject and a reason to be finished.


Acrylic, paper, charcoal on linen, 2022, 61 x 61 cm.

This painting came after a birthday walk in the Trossachs, amongst birch woods and hilly sitka plantations, above the river Garbh Uisge, meaning Rough Water. Walking through the birches I got my pocket sketch book out and drew madly which made me feel a bit dizzy. Here there is a feeling of looming hills and promontories, and birch trunks and the river full of rocks.

In the Hills refers to the wish of the painter to be up in the wild places, in the heather and the trees, walking and finding themselves.


Acrylic and linen on canvas, 2022, 50 x 50 cm.

There is a lot going on under the top layers of paint in this one, a rectangular piece of raw linen over previous layers … and then the top layer itself is quite three-dimensional, thick and thin, skimming over the surface and then stopping in lumps and squiggles. The final brush marks done with a small brush taped to a bamboo cane, to try to let the brush fly over the canvas. Suggesting water surface and light in some sort of homage to Monet’s Nympheas.