1950 Born Glasgow, Scotland
1971-72 Glasgow School of Art
1972-76 Fine Art, Duncan of Jordanstone College of Art, Dundee
1976-77 Post Graduate, Duncan of Jordanstone College of Art, Dundee
1977-78 St. Martin's School of Art, London
1978- Lecturer - Ealing School of Art, London, Harlow School of Art,
Coventry Polytechnic, Southwark College, London, University of
Nebraska, Omaha, University of Nebraska, Lincoln, Creighton
University, Omaha, Kearney State College, Nebraska, U.S.A.
Limerick School of Art, Limerick, Ireland, Westminster-Kingsway
1974 First Prize Grampian Television Award
1975 George Duncan Travelling Scholarship
Carnegie Scholar, Royal Scottish Academy
1976 Winsor & Newton Finalist
1977 Elizabeth T. Greenshields Scholarship
1989 Pollock-Krasner Foundation Award
1989-90 Artist in Residence, Bemis Foundation, Omaha, U.S.A.
1990 Salgotarjan Intersymposium, Hungary
British Council Award, Hungary
1991 Artist in Residence, Crawford Arts Centre, St.Andrews
1992 British Council Award, Moscow, Russia
2001 UNESCO-Aschberg Scholarship, Amman, Jordan
Artist in Residence, Darat al-Funan Art Center, Amman Jordan
British Council Award
Adolph and Esther Gottlieb Foundation Award
2004 Pilar Juncosa Award, Fundacio Pilar i Joan Miro a Mallorca, Spain
Triangle Artist’s Workshop, New York, U.S.A.
2005 Artist’s Workshop, Szeged, Hungary
2006 Artist’s Residency, Yaddo, Saratoga Springs, New York, U.S.A.
2007/08/10/13 Artist’s Workshop, Szeged, Hungary
ONE PERSON EXHIBITIONS
1987 Artworks Space, London, UK
Eagle Works Gallery, Wolverhampton, UK
1988 University of Exeter, UK
University of Kent, Canterbury, UK
Southampton Arts Centre, UK
The Crypt Gallery, London, UK
Crescent Arts Workshop, Scarborough, UK
1989 Seagate Gallery, Dundee, UK
Collective Gallery, Edinburgh, UK
Mark Four Gallery, Lincoln, U.S.A.
1990 New Gallery, Bemis Foundation, Omaha, U.S.A.
Zodiac Gallery, Omaha, U.S.A.
Lanchester Gallery, Coventry, UK
Nogradi Torteneti Muzeum, Salgotarjan, Hungary
Pier Gallery, Stromness, Orkney, UK
Artspace Gallery, Aberdeen, UK
1991 Crawford Arts Centre, St. Andrews, UK
Midland Arts Centre, Birmingham, UK
1994 Meffan Gallery, Forfar, UK
1996 Tricycle Gallery, London. UK
The Economist, London. UK
Monaghan Museum Gallery, Ireland
Limerick City Gallery of Art, Ireland
1997 Garter Lane Arts Centre, Waterford, Ireland
2001 UNESCO Gallery, Amman, Jordan
The British Council, Amman, Jordan
St. Mary Woolnoth Church, City of London, UK
2002 Pilgrim Gallery, London, UK
2003 Sutton House, London, UK
2005 St. Jurgen Starkow Mecklenburg, Vorpommem, Germany
2006 St. Jakobikirche, Stralsund, Germany
2007 Billingham Art Gallery, Billingham, UK
Lighthouse, Poole Centre for the Arts, Poole, UK
Aberdeen Art Gallery, The Hunterian Museum, University of
Glasgow, Scotland, The Bemis Foundation, Omaha, U.S.A.,
University of Nebraska, Omaha, U.S.A., The Scottish Arts Council,
University of Dundee, Scotland, Foundation for Hungarian Graphic
Arts, Budapest, Hungary, Barclays Bank PLC, United Kingdom,
Moscow Union of Artists, Moscow, Russia, Nogradi Torteneti
Muzeum, Salgotarjan, Hungary, Darat al Funun Gallery, Jordan
Private collections - Great Britain, U.S.A., Canada, Holland, Germany,
Hungary, Poland and Russia.
My paintings record my interest in reconciling different and often estranged qualities and ideas in painting. I work through an experimental evaluation of the co-influence or confluence of organic and geometric, texture and structure, density and transparency, the sensuous history of paint and the austere tradition of minimalism.
Within the context of abstraction, namely geometric and organic, I begin with the fundamental balance in painting between line and colour. I have drawn on ancient symbolic shapes from my Scottish background and I am influenced by the symbolic power of simplest forms of drawn lines such as the circles, concentric circles and spirals of Pictish and Celtic Art. Linear elements in my work derive from this source as well as from African and Aboriginal Art, Abyssinian Warrior Shields and Russian icons, and other lines and shapes that retain, in the broadest sense, some significance within culture. For colour I begin from observation of geological form and the substance of land; of dust, sand, mud and rock as well as the outcrop of local street furniture/ architecture; weather and the effects of weathering, and then of the often extreme and exotic colour of lichen, peat and mosses.
My work exploits all the painterly techniques that have been used throughout Western Tradition and over the years I have built on that knowledge with extensive experimentation using a wide variety of media. Recent works use wax with all kinds of paint to create surfaces, which are intensely worked with drawn lines and a range of brushed applications that build a layered body of paint of variable density and transparency. Structure and colour are modified, inflected or deflected by developing textures, which alter intent and meaning. I’m intensely aware of the process in which the painting acquires its identity and presence. When this dialogue of authorship and authority resolves the tensions of surface and depth, qualities and ideas, I get close to the synthesis I aim for when an idea becomes an object that declares itself in the purest language of painting.