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Born 1946. Designed and made jewellery after National Art College Sydney, Australia, before moving to Britain in 1972. Metal engraving at John Cass College London lead to engraving on wood for making prints and designing.  A freelance career has included engraving and designing a poster for London Transport and the masthead of The Times newspaper, plus four ‘bridge’ one-pound coins for the Royal Mint. Fourteen minted coin designs include a two pound piece featuring London Transport and the Stephen Hawking 50 pence. A Fine Art PhD from Aberystwyth University 2010 involved researching and experimenting with colour and compound printing.

出生于1946年。在澳大利亚悉尼国立艺术学院毕业后设计并制作珠宝,1972年移居英国。在伦敦约翰·卡斯学院学习金属雕刻后,开始进行木口木刻版画和设计的创作。作为一位自由职业艺术家,她的作品包括伦敦交通局的海报设计,《泰晤士报》的刊头设计,皇家铸币厂 一英镑的硬币上的四款桥的设计,以及其他14枚铸币的设计,包括以伦敦交通为主题的两英镑硬币和斯蒂芬·霍金(Stephen Hawking )50便士硬币。2010年在阿伯里斯特威斯大学获得美术博士学位,课题为对彩色和复合印刷的研究和实验。


Since first engraving around 1979, I have enjoyed breaking down solid black to the finest greys through the wide tonal gamut possible with relief tools. My fascination for building tonality and colour with line remains undimmed and I configured engraving blocks of homopolymer in 1985 to maximise the efficacy of late 19th century trade-engravers’ tint tools. Their name indicates that the commercial illustrators who used them also exploited  the tonal range of cut linear tone, often interpreting a tint made by wash illustrations drawn directly onto the block.


In 1981 I started to engrave three blocks for overprinting, using the same technique for a single colour. The overprinted blocks literally mix secondary and tertiary colours in parts, but also print a visual colour-mix of tiny impressionist dots. It particularly suits bright, hard-edged Australian light and I am showing some Australian prints together with engravings from my Art on the Underground poster for London Transport, plus objects that I collect on my travels. I like engraving small things that can actually sit on my workbench for consultation, that stay still in the studio – and do not wilt.

1981年,我开始用同样的技术制作三块可以套印的雕版。套印显示出第二和第三色的部分,也印出了印象派的小点的视觉色彩混合的效果。它特别适合明亮、硬朗的澳大利亚光线,我将展示一些以澳大利亚为主题的版画,以及我为伦敦交通局制作的 “地铁上的艺术“(Art on the Underground )海报中的木口木刻作品。还有我在旅行中收集的物品。我喜欢雕刻小物件,它们可以放在我的工作台上供我参考,可以在工作室里静止不动——而且不会枯萎。

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