BORN: - - Wales, 1958 - - - - - LIVES/WORKS: - - London UK - - - - - EDUCATION: - - 1976-77 Foundation Studies Cardiff College of Art 1977-80 BA(Hons) Fine Art Wolverhampton Polytechnic 1981-84 MA Painting Royal College of Art 2006-onging Mphil/Phd Research Royal College of Art - - - SOLO EXHIBITIONS: - - 2003 Forest Signs Black Forest, Germany 2001 Passion Vertigo, London 2000 Passion Arthus Gallery, Brussels 1997 After Colmar Nielson and Wuetrich Fine Art, Thun, Switzerland 1995 ---- Galerie Fossati, Basel, Switzerland 1995 ---- Lamont Gallery, London 1995 ---- Glynn Vivian Art Gallery & Museum, Swansea 1994 Homage to Bocklin’s Rock Galerie zur Alten Deutsche Schule, Thun,Switzerland 1992 ---- Galerie zur Alten Deutsche Schule, Thun, Switzerland 1992 ---- Long and Ryle, London 1989 ---- Andrew Knight, Cardiff 1985 ---- Roger Francis, London - - - SELECTED GROUP EXHIBITIONS: 2008 Paint Lab Hockney Gallery, Royal College of Art, London 2008 Icon Primo Alonso Gallery, London 2007 Still Life Still 2 plus 1 Gallery, London 2007 The Future Can Wait Ellis Rumley Projects, Atlantis Galllery, London 2007 Nature and Society Museum of Ethnography, Dubrovnik, Croatia (curator) 2005 Obsession Sartorial Contemporary, London (curator) 2005 Broken Romaticism Standpoint, London 2004 If You Go Down to the Woods Today Rockwell, London 2003 Gallery Artists Vertigo, London 2001 Drawing the Line Vertigo, London 2000 Transformations Lamont Gallery, London 1999 Artists From Britain Arthus Gallery, Brussels 1998 ---- Royal National Eisteddfod of Wales 1998 Robin Mason and Shani Rhys James Paton Gallery, London 1998 Evidence Maidstone Museum and Art Gallery 1998 Cheltenham Drawing Open Cheltenham and Berlin 1996 Recent Acquisitions Unilever, London 1996 Déjà vu George Rodger Gallery, KIAD, Maidstone 1995 A-Z of Swiss Collectors Solothurn, Switzerland 1995 Heads Galerie Fossati, Basel, Switzerland 1994 Drawing Galerie Fossati, Basel, Switzerland 1994 Beautiful Blooms Lamont Gallery, London 1993 ---- Royal National Eisteddfod of Wales 1992 Cabinet Paintings Glynn Vivian Art Gallery and Museum, Swansea 1991 New Patrons Christies, London 1991 Cabinet Paintings Gillian Jason, London 1990 Three Ways British Council & Royal College of Art tour to Eastern Europe 1990 The Art Machine McLennan Gallery, Edinburgh 1990 Acquisitions Leicestershire Education Authority, Leicester 1989 New Faces from Britain Galerie zur Alten Deutschen Schule, Thun, Switzerland 1989 Overseas League Overseas House, London 1989 Cleveland Drawing Biennale Middlesborough 1988 Homage to the Square Flaxman Gallery, London 1987 The Other Side of the Hill Flaxman Gallery, London 1987 ---- Piccadilly Gallery, London 1986 Interiors Upstairs Gallery, London 1986 Still Life Oriel Bangor, North Wales 1984 Pick of New Graduate Art Christies 1980 New Graduates Sainsbury Centre, Norwich 1980 Pick of New Graduate Art Icon Gallery, Birmingham 1980 Northern Young Contemporaries Whitworth Gallery, Manchester - - - AWARDS & RESIDENCIES: - 1980 First Prize Northern Young Contemporaries 1989 First Prize Royal Overseas League Trophy 1989 First Prize Cleveland Drawing Biennale - - - COLLECTIONS: - - Royal College of Art Government Art Collection Unilever (1988 & ’95) Walt Disney Productions Diamond Trading Company Cleveland County Council Rosehaugh Stanhope Plc. Leicestershire Education Authority London Underground TI Group - - ARTIST STATEMENT: - Between the Sacred and the Profane – Painting in the State of Intrigue. “ My work has often been spoken about in terms of sacred and profane. My feeling is you can’t have one without the other” - Andres Serrano. I see the Place of Intrigue as a venue, a place that is safe, where desires, fears or taboos can be expressed beyond the parameters of societal constraint. To reach the State of Intrigue requires an Intriguer to exist. In my case this is often a painting such as Mathias Grunewald’s ‘Isenheim Altarpiece’, Rubens’ ‘Deposition from the Cross’ or Arnold Bocklin’s ‘Island of the Dead’. I find that by entering into a State of Intrigue, through drawing (transcribing) from the Intriguer, it is possible for a meditative imaginative state of reverie to be experienced. As this drawing (transcribing) takes place, I (the Intrigued, the observer or user of the Intriguer) am free to contaminate the Intriguer with my repressed or suppressed history, my contaminants and influences, my hopes and desires, views and thoughts. Manoeuvring and manipulating the materiality of the materials the underlying presence of the Intriguer, acts as a catalyst in the development of work that constitutes a discussion between Eros and Thanatos.