since I was a child I have been sketching and painting. In the late 1990s
I shifted from my beloved preferred media of watercolour, acrylic
and my distinctive ink pieces to photography.
These pages will host a gallery of my
non-photographic works- some of which are now in private collections.
I'm always happy to take on commissions either or original pieces, or
reworkings of those featured. Please email me with any enquiries.
My art has always featured a large volume of monochromatic work,
resulting in some of my most satisfactory paintings, sketches and photography. I make
no apologies for the volume of it here.
Ink & wash on watercolour paper. 1996.
I spent two
summers in the 1990s in the beautiful Quiberon peninsula in
Britanny. On my second visit I spent a great deal of time
exploring the megalithic landscape around Carnac by bicycle.
This watercolour is of one of the open chambers near Carnac,
part of a huge network of cairns and dolmens. The richness of
the colour, and the dynamic skyline are all represented. This
remains my favourite from the megalithic series to date.
|"The Kempe Stones"
Ink and watercolour paper. 1997.
is of the large Kempe Stones dolmen - a prehistoric stone
tomb/monument - which sits in a field just outside of east
I've always been fascinated by megaliths, and they are a
recurring motif in my work - part of my ancestral heritage, and
a fusion of man and the mysterious past.
Completed during the first half of
1997, along with a companion piece of the Giant's Ring dolmen (a
monument from the other side of Belfast).
The piece was damaged when being hung for exhibition in Belfast in
1999, and the piece was cropped substantially on both sides.
This image crops that a little further again. It has only recently
been reframed, and now resides in a private collection.
|"Peter Cushing AD
pencil & paper. June 2010.
easing myself back in over the last few months, this was the
first pencil drawing I've attempted in a LONG time.
Not completely happy with it - but I never am!
A full pencil drawing of the actor Peter Cushing based on a
still from Hammer Films' Dracula AD 1972.
I think I've made him look a bit younger than the still does,
but hopefully the piece works.
Oils & acrylics on card. 1998-2005.
been able to complete this painting, based on a black and white
photograph I took in 1998 for a project on rituals. Time and
time again I returned to the painting before finally laying it
to rest in 2005.
Its an erotically charged and
haunting image, the woman sprawled on the floor, menacing and
enticing, a dagger just evident in her right hand. The red dress
is slightly translucent, and she looks right at the viewer with
a determined stare.
The pallid complexion lends her
a supernatural quality.
The image itself is one which I have returned to many times for
inspiration for other projects.
self-confessed Doctor Who fan, and have been since childhood. I
frequently turn to the series to exercise my creative leanings.
This 2003 sketch is based upon an
iconic BBC photograph from the 1965 tv serial The Dalek Invasion
of Earth, and depicts a lone Dalek on Westminster bridge.
most iconic image of Jim Morrison - the late lead singer of The
This was one of the most ambitious pieces I worked on at the
time, spending a two or three weeks coming back and forward as I
honed the detail. It remains one of my best pieces ever I think
- the upper panel was as close to perfection as I've ever got.
|"In the Woods..."
Pastel on black paper. 1998.
ominously depicts an empty path, based on the woods around
Helen's Tower in Conlig. I've been walking those woods for over
a decade now, and even in summer I find them foreboding and
enticing at the same time.
This illustration is based on a
winter image, with few leaves on the trees and the winter ferns
turning brown in places.
pencil & paper. c. 1997.
Size: 42cm x 30cm
Undated, but appears in one of my 1997 workbooks, so believed to
be from middle of that year.
I regularly worked on detailed sketch portraits in ink and
pencil as a way of developing and honing my technique. This is
one of two Morrison portraits, based on the cover for the
posthumous American Prayer poetry album by Morrison and The
pencil & paper. Dated 26.08.1997.
Size: 42cm x 30cm
Another megalithic illustration - this time of the most famous
such monument, the mighty Stonehenge. Part of a series of
interpretations of the monument I did in 1997/8 based on
photographs I took on a visit to the site in 1996.
ink & paper. 1996.
summer of 1996 I went to Brittany for the first time. Spending a
couple of weeks around the Quiberon peninsula I spent hours
wandering around the megalithic monuments in the area. This
scene has always stuck with me - the great stone allignments
heading off into the distance for miles.
This tiny ink sketch complete with intricate detail is based on
another of my photos I did in situ.
Chalk on black paper. 1996
One of my
earlier negative monochrome illustrations. Rather than the usual
black on white paper, I started using chalk on black paper, and
discovered that the negative image created had an aura of
mystery about it that enhanced my own interest in the subject.
This particular image is of the
Kempe Stones, a dolmen which sits off the Greengraves Road near
* Used as the cover art for poetry
anthology Moonstone Silhouettes by R.J. Dent, Inclement
Available from firstname.lastname@example.org
Chalk on black cartridge paper.
Acrylics on black card. c. 2003-2005.
I spent a
winter working on the basis of a project entitled "rituals",
which was inspired by horror films and the iconography of the
occult/wicca which at the time was popular with young people,
thanks to the rise of Buffy the Vampire Slayer.
The photography for the project
was never quite right, and most of the work was abandoned. A few
years ago I started to rework and to finish a couple of
paintings I had sketched out in 1999, and this was one of them.
The subject was dressed in a white shirt, and lit only by a
candle, in a room enveloped by darkness.
The end result is rather appealing
and macabre. The slight colouring from the candle sets of the
portrait nicely, draws our attention and hints at bloody
connotations and an evocation of the female.
Unusually for one of my works, it
isn't signed or dated on the front, something I would normally
do when I am finished with a piece, perhaps suggesting I had
intended to return to it.
Oil & watercolour paper. 2000
Size: 25cm x 15cm
I've never been happy with my paintings, which is part of the
reason why I moved into photography. This oil painting was for a
book of poetry I was putting together in 1999/2000. An
impressionistic vision of a reticule or crystal ball. It uses
bold cold colours to suggest foreboding, and is curious for its
circular theme which continues to the black circle which frames
Acrylic on canvas. 2006
Having barely touched a brush in over a year this painting is
something of a mixed bag, and the photograph doesn't really do
the image justice. Painted in thick strokes, the background is
something of a vague and admittedly clumsy work. The Gargoyle I
was much happier with. Although colour painting has never been
my strong point.
Based upon my own photograph (from 2005) of the famous Notre Dame gargoyle
Pastels & chalk on card. 1998.
which is closer to impressionism rather than abstraction. The
forms are clearly defined and the subject matter is easy to
determine. This is one of a number of works which I did
relatively quickly using chalks and pastels, attempting to
refrain from overly complex detail.
The figure stands in the frame of
an old building looking away from us towards an industrial
tower. There is a hint of foliage encroaching on the subject,
fusing together industry and nature.