Early work consisted of collections of delicate, small constructions scattered over wide areas of floor space with always sensitivity to the place in which they were assembled. Drawing was and still is an important part of the process, mainly to explore ideas but sometimes becoming something in itself, particularly in the 80s when large drawings on paper or calico became the main concern. The break up of this two dimensional drawn and coloured surface led to making a number of works in which calico or silk were cut into seas of rucked and slit pattern; a knife being used as a drawing tool. These filled floors reaching wall to wall, sometimes being made in response to a space. The cutting through led to developing complex patterned stencils. Powdered substances were sifted through these forming sensual, ephemeral works. In the early 90s time spent in Italy and Brazil allowed an interest in the Baroque to develop and in the paraphernalia - particularly the richness and decoration - to enhance the enchanted state of religious ritual. The direction of thought was towards questions about human pleasure – spiritual rather than physical. Various strategies were used: complex patterning and repeat, sensuality of smell and texture, glitter, precious materials and the illusionary preciousness of the ephemeral, also exaggerations of scale – very extensive two dimensional surfaces so the sense of size is lost or exquisite minute detail that requires very close scrutiny. Observation from the natural world has always been important. A childhood surrounded by ecologists and natural scientists and a spell as a research agronomist were a good training. Alongside this there has always been an interest in ways in which artists through the ages have reflected developments in science and technology, with a particular fascination in the way natural forms have been interpreted in art and decoration. Our age sees the digital revolution, which in addition to everything else it allows, means we can record images and sound fast and accurately and puts within reach software which can reflect what we think we see in a new way. Now, in hand with developments in the technologies of materials and their processing, the inspiration of new software means buildings need no longer be rectilinear, the microscopic world or things before difficult to access can be clearly seen and ideas can be easily transformed from the drawing board/screen into a very varied materiality.

By the 90s the place in which works were situated had become an essential part of my outlook: historical, social and environmental considerations influencing their form. The interest in how and where works were situated led to taking up opportunities with architects and in the public and corporate arena. These commissions present the possibility of working on a large scale with expensive industrial processes. They are permanent, or as permanent as a building might be, and demand cooperation with other designers, all of which is a challenge. New strategies need to be developed for each work, which fulfil practical demands but ensure the work remains a serious statement rather than a decorative artifact. Prints have always been an interest and a way of reaching a wide public: in the early days large screen prints and textiles, in the 70s and 80s etchings, and latterly digital prints. In the digital prints computer software is used to work with photographic images and video often combined with the hand-drawn. The process is not demonstrated in the end product but it has opened up an acute awareness of how the different processes affect thought patterns. Video has also become important in documenting short life works and has led to collaborations with other artists.