My Resume

Born Birmingham, England. Currently resident in Takoma Park, Maryland, United States
1990 BA, Fine Art, University of Humberside (major in printmaking); Silicone Intaglio, Scarborough Print Workshop; 1999 Stone Lithography, Corcoran School of Art and Design, DC
2004/6 Photogravure, Pyramid Atlantic, MD
2019 North West Arts Centre, Minot State University, ND
2013 Washington Printmakers Gallery, MD
2012 Northern Virginia Community College
2011 Arts Club of Washington, DC; Stimson Centre, DC; Washington Printmakers Gallery, MD
2010 Delaplaine Visual Arts Center, MD

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The work begins with drawn studies or photographs. I choose the subsequent print medium - the crisp etching line, the soft lithograph line, the rich drypoint line, or the gravure method – to reinforce the meaning intended within the image.

My subject matter is the natural form - the overlooked, or less remarked. I am drawn to these forms either by a visual attraction, or by the subject’s resonance with those historical, ethical or environmental matters which interest me - or both. I give these small and vulnerable remnants of nature an iconographic stature, to reinforce the importance of their placement in the natural world.


Photogravure enables a photographic image to be converted to an etching, and is one of the finest means of photographic reproduction available. It combines the full tonal details of a photograph with the richness and flexibility of an etching.

Direct Gravure

Using the same technical process as photogravure, a direct gravure converts a drawing on a transparent paper (such as mylar), or non-photo computer-generated image printed on transparent film, into an etching.


A metal plate (copper or zinc) is covered with acid resistant wax. An etching needle is used to draw the image into the wax resist. The needle reveals bare metal under the resist and when the plate is immersed in acid, the acid bites into the exposed metal. The longer the plate is in the acid, the deeper the acid will bite. Deeply bitten areas hold more ink, and print darker when passed through the press.


Aquatint is often used as part of the etching process. Aquatint enables tonal areas to be added to an etching plate. The plate is covered with powdered rosin, which melts when heated and fuses to the plate. The plate is immersed in acid, and the acid bites between the microscopic dots of powder. The longer the plate is left in the acid, the deeper it will bite, making the aquatint darker.


A sharp needle-point (drypoint) tool is used to draw into the surface of a copper metal plate. The drypoint tool throws up a burr as it is drawn across the metal. When the plate is inked, the burr catches the ink, which gives a drypoint its characteristic soft, velvety line in strong contrast to the very precise nature of an etched line.

Excess ink is removed from the plate, damp paper is placed over the plate, the plate is passed through the printing press, and the ink from the plate transfers to the paper. Each pass through the press lessens the burr on a drypoint, so editions are usually small.