I make lino prints and monoprints and my subjects are concerned with the human figure, usually in a domestic situation, or still life. Like many artists I use drawings as my starting point. When lino printing I usually cut separate blocks for each colour but occasionally use the reduction method where one block is systematically cut away to nothing to make a limited edition and cannot be used again. Monoprinting I enjoy as with it I can employ a freer technique and the results are often unexpected and surprising. With this I work on a cardboard, metal or plastic base plate and on which I paint, wipe and overlay and also use stencils and transfer drawing from the back. To sum up, it’s the directness of working with lino that I like and the surprises inherent in monoprinting.
I began to be interested in lino printing while I was at Colchester School of Art in the 1950’s. John O’Connor, a noted wood engraver was the Principal and my tutor. He did not care for lino printing, saying it was like cutting cheese but it was there my interest began, lapsed for many years and only revived with my retirement from teaching.