Prints in the Serendipity Series use chance arrangements of paper and other materials or chance observations of fleeting shadows to arrive at the final composition. In some instances, the screens for these prints are made by scattering materials or creating a stencil which can never be replicated after its use. In other instances the prints originate in photographs tracking the movement of sunlight and shadow on paper. A consideration of the fugitive, the fleeting and the ephemeral are at the core of this work. I enjoy the inherent contradiction in the denial or challenge of repetition using the printmaking process, which has the possibility of replicating images at its foundation.

Halftone images are prepared from photographs which are converted into an arrangement of small dots prior to printing. My interest in halftone prints grew out of earlier work with dot and grid formats. The halftone prints introduce the illusion of depth and three dimensional perspective to the work - contradicted only slightly by the superimposition of a ‘fictional’ orange dot which really has no place at all in the original photograph from which the work is made. The photographs used to make these prints are put through a series of digital manipulations, rendering them almost fictitious.

The Dreamscape Series are predominantly one-off works on paper. They are produced using the screen printing process as the final unifying stage in the making of work which can involve collage, drawing and photography in its preparatory stages.

A series of screen prints using simple geometric shapes to create crisp colourful overlays. Most are made using simple hand cut paper stencils for spontaneity.

A series of screen prints producing a range of outcomes from the simple single starting point of a grid of dots.

Screen prints made from linear drawings in charcoal, ink, graphite and textile. The drawing stage is usually worked in black and white, with colour being introduced at the printing stage.