process
​Some of the woodlands I paint are rare and ecologically incredibly valuable. Padley Gorge is an example of a Temperate Rainforest, containing sessile oak, beech, rare ferns and mosses. At one time this type of woodland would have covered much of the UK but now remains in scattered locations only.
Lying adjacent to Padley Gorge is Lawrencefield, a young silver birch woodland. Although these woodlands are next to each other, they are very different. Lawrencefield was a busy industrial site (quarry) until 1914. Pioneer species such as silver birch are among the first tree species to take hold after industrial use. Light, soil, grazing and protection from wind are key reasons why Lawrencefield looks as it does.
I choose to paint in these locations because of their differing ecosystems. Although Padley Gorge has
greater biodiversity, visually they hold equal fascination. Seeking to understand the landscape ecologically is as important to me as capturing its form. I begin sketching or painting plein air, as well as taking many photos, this begins to build understanding of the habitat. I also will also use i-naturalist to identify unusual plant species and talk with the bird watchers to find out what is on the wing.
Early studies may be very detailed. The final works, usually done in the studio, tend to be more abstract. Colour and line capturing light, shadow and form. The colour and mark making of Emil Nolde and Ivon Hitchens inspire me. My textile background is inescapable and I let it inform the work. Resources such as light which are so critical may be emphasised in a colour (for example pink) which is not present naturally, this aims to convey the value of this resource. Low stunted trees, multi stem forms, tall thin trees and the elegant twisted branches of sessile oak are all responses to restricted availability of critical resources. My paintings not only celebrate the beauty of the landscape; they also applaud the resilience of nature.