For two decades, my work in drawing and painting has explored the effect the land has on thought and feeling. My images are derived from discreet, overlooked aspects of the natural and manmade world and expand beyond the depiction of specific locations.
I am drawn to subjects that are common, familiar: the effects of rain in water and the disturbance of inverted reflections; the shroud like appearance of garden row coverings.  These modest subjects, when taken out of context, acquire secondary, psychological undercurrents. Over the past five years I have honed my process to three connected bodies of work, ‘View of Rain,’ ‘Ghosts,’ and ‘Ghosts, Darkly.’  ‘View of Rain’ is a series of paintings of raindrops landing in and accumulating ground water. These works explore the melancholic aspects of rain: the cold, the wet, the transparent, the grey, as well as the confounding sensation of the ripples disturbing reflected images beyond legibility. ‘Ghosts,’ made in the faint material of silverpoint, represent garden row coverings. Through the drawing process, these images assume further meanings, alluding to fragility and the cycle of growth and dying.  ‘Ghosts, Darkly’ are experienced like photographic negatives.  These works – made during Covid lockdown - amplify reference to bodies and shrouds.  For example, the structural frames and underlying plants become ‘skeletons’ while the translucent, stretched coverings become ‘skins.’ My use of white pencil on black paper suggests x-ray images.  Emerging out of the dark ground, they also appear as apparitions. Due to their similarity to shrouds and their huddled compositions, ‘Ghosts’ and ‘Ghosts, Darkly’ reference protection and human relationships.