I am a Sheffield-born artist working chiefly in the Yorkshire region; fortunate enough to be able to work in a number of media, but my particular passion is water colour and my obsession is light; the different atmospheres it brings, the surprising colour combinations that are sometimes needed to describe its extraordinary effects, the exquisite way in which light, or the lack of it, can be simply represented to hint at form while leaving the rest to the imagination; these are some of the challenges, and the rewards - and watercolour lends itself so beautifully to the cause. An architect until 1992, I gave it up to do what I have always loved – painting. And I found to my surprise that I have an affinity with all sorts of fields of Art.  Let me introduce you to some of them. Works for sale – Subject matter is everywhere. Where the choice is my own, I paint subjects which arouse a strong reaction in me – often a kind of exhilaration at the prospect of capturing what I see. It might be sunlight on water, the brilliant cobalt reflections of a blue sky on a road or rooftop after rain, or perhaps the colour and vitality of a bustling market place. One of the things which perhaps sets the artist apart is an ability to see rather than assume what’s going on around us, and to engage with and interpret it. My sketch book and camera are fairly constant companions wherever I go. Time and again on a holiday, a weekend away or a country walk I find myself attracted to the potential of a scene which others meander through unnoticed; and yet they will identify wholeheartedly with the sketch or painting that results. As a former architect, buildings and what goes on in the spaces around them attract me more than most but there are no real limits. Look at these examples. The Watercolour Gallery shows some other examples of recent paintings for sale.

Flower sellers, Bruges	Apologies to engine connoisseurs, but I didn’t know how long I had for this sketch; photographs should provide any missing information for a painting. The trick is to put the engine in first and add everything else, if necessary, after it’s left the platform.
	The Ganges at Varanasi

This is Staithes on a weekend break in March ‘09. The sketch was put together in maybe 30 minutes in failing light. I might prefer the Beck at low tide when it’s painted, but it looks OK at high tide in the sketch. Supporting photographs will help me to decide.

An early morning light on Notre Dame

Commissioned work. There are invariably two factors in guaranteeing success when commissioning an artist. The first is choosing an artist whose work makes that vital, special connection with you. The second, is about collaboration—acknowledging that both client and artist should be allowed their input. Your idea may be clear in your mind or you may want to take advice first; whichever is the case, be it a portrait, a painting of your house or favourite place, an impression of a building from your architectural plans, or something as yet unresolved and very personal to you – like a special memory for a loved one, discussion at an early stage allows me to add my input to yours, and habitually produces a piece of work which exceeds your expectations. A thumbnail sketch can be prepared in this initial stage, to clarify everyone’s intentions, before the cost is confirmed and the work begun. The cost of a commission varies according to content and the number of stages required to complete the work, but is easily arrived at through discussion beforehand. The menu to the right may help to illustrate what your particular project might involve.

Watercolour of the Parish Church, Dore; Sheffield

A portrait developed from an old black and white photograph

Preliminary sketch and final artwork. One of many prepared for two books about the life of the late Fred Dibnah

A beautiful little lady on her holidays

Bell-ringers at the Roman Catholic cathedral of St Marie's, Sheffield

Art Residencies and Tuition— these are possibly the most rewarding areas in which I work; certainly the growing awareness shown by adults in the thick of an organised course or workshop is very satisfying; and the boundless energy, constant questioning and unreserved commitment given back to me by children of all ages when I teach in schools; these are experiences which should be compulsory for everyone. You can find out something about both of these kinds of event, and perhaps capture some of their energy, by looking at The Art and Design Curriculum in Schools and Painting Courses