Water, 25.4 x 30.4 cm, Oil on board

If I’d known there was a way to study the creative process when I was younger, but without practising an artform, I would have been intrigued, but not convinced of the usefulness of this.

Discovering this process in my body and learning to work with it during lessons in the Alexander technique has left me in no doubt of the value of such an undertaking, not just for my body, or the body of my work, but my whole being.

In 2018, I started training to teach the technique and began a series of portraits of trainees and teachers, which is ongoing.

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Coffee, 25.4 x 30.4 cm, Oil on board

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Banburys Triangle, 76.2 x 101.6 cm, Charcoal and oil on canvas

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74, 25 x 32 cm, Oil on card

I wanted to create big and complex work at Chelsea College of Art & Design, but couldn’t afford materials or transportation costs for canvasses.

Because painting felt vulnerable and dangerous like giving birth, it was necessary to leave the communal studio to work at home. After many false starts, I began this series of self-portraits.

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Rover, 84.1 x 118.8 cm, Acrylic and gouache on red paper

I discovered painting in 1987, when I was 16. It seemed like magic, a way to make things happen.

I got a place on a Foundation Course at 18, but left after a day. Socially isolated, I got shingles, had therapy, got a job, passed my driving test, wrote extensively and joined another Foundation Course when I was 21, by which time I felt aged, but ready to go.

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