An exhibition of my paintings of car plant interiors begins at The British Motor Museum next Thursday 16th August and runs until the end of September. I have a particular interest in innovation, technology, our vision of the industrial future and how these facets of modern life are presented in an ever-changing landscape. The car industry is rapidly innovating and presenting exciting new technologies to the world and my work is focused on capturing these new and significant

What an amazing opportunity to spend Saturday painting on the manufacturing floor at Jaguar Land Rover in Solihull as part of their weekend festival. The experience of working from my subject matter in situ was so different to working in my studio. The colours and the structures seemed enhanced and the sounds of the machines and the robots added to the intensity of the experience. I’d love to do it again and spend more time there. In the meantime, I’m finishing the painting o

Continuing my series of car factory interiors I have been commissioned to undertake a live painting event at Jaguar Land Rover in Solihull this weekend to celebrate their 70th anniversary. I have already visited the body parts manufacturing floor, a fascinating interior of complex horizontal and vertical structures with some imposing robots and eerie Land Rover skeletons. I'm really looking forward to the challenge of trying to capture the essence of the place in just one day

It’s been a really interesting experience at my Bucks Artweeks exhibition at Greatmoor EfW this week. Visitors have been keen to see my artistic interpretation of Greatmoor but also showed great interest and enthusiasm for Greatmoor itself. Greatmoor energy statistics are impressive. 900 tonnes of waste are processed each day and the facility produces 27 mega watts of power, 24 of which are fed to the grid, enough to power 40,000 homes or 60% of the houses in Oxford. What

I’m very excited that my exhibition at Greatmoor EfW in Buckinghamshire will open this Saturday and be running over 2 weeks. My interest in sites such as Greatmoor has been a consistent theme throughout my work from the recycling facilities in Coventry and Oxford to abandoned cement works, Didcot power station and the production lines at BMW Oxford. I like to take complex structures and make them visually interesting to a wide audience. Greatmoor (Energy from Waste) is an imp

One of the exercises I like to do with my students is to ask them to draw something that is very small on a much larger scale. This is often quite a challenge especially to students who haven't drawn for a long time. A large piece of paper is daunting and we feel quite exposed at the prospect of working so large. But if you continue to work really small you are not able to represent as much as you can see. Take an object such as the simple screw for example. If you draw that

I have just listened to “The Art of Now: Dangerous places” on Radio 4. An amazing programme about the bravery and work done by artists living and working in conflict zones. The presenter Errollyn Wallen asks why and what does it achieve. She ultimately concludes. “Every artist asks, 'what’s the point of this, what good can it do?'. Very important questions. They help us work out what artists can do that nobody else can. All your training as an artist only matters if you can s

When I’m beginning a new project, it’s often a challenge to know where to start. It’s one of the most difficult aspects of being a painter, but I know the best start is to pick up a pencil and get drawing. Reading an interview in The Guardian with Paula Rego, she holds this view and feels ”You learn so much drawing from life, you have to look so carefully. It’s very difficult to actually see what’s there, the more you do it, the better you get at looking and that’s a discipli