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Born 1946. Attended Northampton School of Art. Fellow of the Royal Cambrian Academy, Honorary Fellow of the Royal Society of Painter-Printmakers and a member of Society of Wood Engravers. Prints held in many private and public collections around the world including the V&A, Ashmolean Museum, Berlin Graphothek, Fremantle Museum & Art Gallery, Australia, Gaudi Salon, Barcelona, Guangdong Museum of Art, China, National Library of Wales, National Museum of Wales and the Yosemite Wildlife Museum, California. Publications include Incisive Eye, a catalogue raisonné of his work 1980-1996; Air and Water, a collection of fish and fowl engravings 1984-2004 and Of a Feather – An Illustrated Lexicon of Avian Collective Nouns, 2008.

出生于1946年。曾就读于北安普顿艺术学校。英国皇家寒武纪艺术学院院士、英国皇家画家-版画家协会荣誉院士和木口木刻版画家协会成员。版画被世界各地的私人收藏和公共收藏,包括维多利亚和阿尔伯特博物馆、阿什莫林博物馆、柏林美术馆、澳大利亚弗里曼特尔博物馆和艺术馆、巴塞罗那高迪沙龙、中国广东美术馆、威尔士国家图书馆、威尔士国家博物馆和加州优胜美地野生动物博物馆。出版的作品包括1980-1996年作品图录《敏锐的眼睛》(Incisive Eye);1984-2004年鱼禽雕刻作品集《空气和水》(Air and Water);《一根羽毛--鸟类集合名词图解词典》(Of a Feather - An Illustrated Lexicon of Avian Collective Nouns),2008年。


Wood engraving demands incisive control. There is no compromise in my wood engravings just the black of the ink and the white of the paper, together with a closely considered design built up from countless drawings. I live and work in a remote farmhouse in Montgomeryshire, Wales and take much of my inspiration from the surrounding landscape and its wildlife. Over the years wood engraving has become an intense passion, intriguingly revealing endless possibilities for me as an artist. There is I believe, something indefinable but essential to any creative work, something which provides the driving force for all my image making. An interaction has to be present between myself and the work. Somehow an energy must be generated which will run through the whole process of creating a print from the first rough drawings to the final proof. I strive to achieve a unity and a dynamic in my work, rather as in a piece of music, allowing for and encouraging further creative input at every stage. It is true that the prime object with my wood engraving is simply to make a printed image, but the work leading to that goal must never falter and never be merely a technical, still less a mechanical exercise.


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