Having been briefly introduced to linocutting in my last term at school, I was interviewed for a place at Norwich School of Art. The wood engraver Geoffrey Wales looked at my initial print and pronounced that I would study linocutting as a craft. With those few words, he mapped out my artistic life.
On leaving art school in the late 1950s I had to devise a method of printing without the services of a press. Surprisingly, the answer came in the form of my tobacco tin. I found I could use the base of this as a burnishing tool – a method I still employ to this day.
I produced my first editioned print in 1958 inspired by the closure of my local railway. I was determined to try and record the scene. This work set the style of subject matter that I would later choose – the disappearing railway, old houses and streets about to make way for the developer, and what was to become my main inspiration, the declining fishing industry.
I am a Senior Fellow of the Royal Society of Painter-Printmakers and a member of the Society of Wood Engravers.
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