STUDIOS OF AUSTRALIA, MELBOURNE Weaving large-scale tapestries,
including work commissioned for Parliament House, Canberra.
KUNSTLERHAUS, BERLIN Four months in residence in large print studio
in Berlin, making etchings and silkscreens.
1993 - 95 TREVOR
PRICE STUDIOS, ST. IVES Worked alongside Trevor Price professionally
editioning his etchings and producing new work of my own.
1996 – 97 WILHELMINA
BARNS-GRAHAM PROJECT Was approached by WBG to work with her one
to one on three large scale colour etchings as part of her
“Scorpio” series. The making and editioning of
the work took several months.
AND WORKSHOPS IN THE PHILIPPINES Invited by The British Council
to be main exhibitor in & co-curator of an exhibition of British
Contemporary Printmaking in Manila. Whilst there, taught a series
of workshops at The University of the Philippines.
1999 - 2002 STONEMAN
GRAPHICS, CORNWALL Editioning in professional studio for artists
such as Patrick Heron, Terry Frost, Ian MacKeever, Breon O'Casey.
1995 - present PORTHMEOR
PRINT WORKSHOP, ST. IVES Instrumental in the setting up of this
large open-access studio. Help to run workshop and strongly involved
in all new developments, including a varied educational programme.
IN RESIDENCE Kings School, Worcester.
2001 - 2006 LECTURER
AT CORNWALL COLLEGE on the Foundation Degree & HND Fine Art
courses. Teaching at various places, including the St. Ives School
of Painting, Tate Gallery St. Ives, Penwith College, and the Newlyn
to Falmouth Art School BA and MA Graduates through an ongoing
scheme run by Creative Skills and the Tate Gallery, St. Ives.
Etching for me lies
somewhere between sculpture and painting. It can be a very physical
medium, and I use and explore this sculptural quality in my work.
I love the contradiction of altering the surface of the metal
to create painterly marks on the paper. My imagery develops from
a desire to explore something ambiguous; a sense of place, a perspective,
an emotion, a colour. From these beginnings the piece becomes
an adventure, not knowing until I finish where it’s going
to end up.
My work is driven
by a fascination for colour & I often spend weeks changing
the relationship of colours slightly until I get it right, but
what is unique about the etching process is that none of this
struggle shows & the finished piece has a freshness &
glow about it not possible to achieve in a painting. Ultimately
I do it because it’s very exciting, especially with etching,
there’s something magical about the moment you finally
lift the image off the press & you’ve got it right.
the setting up of this large, open-access printmaking workshop.
She oversees the running of the studio and is strongly involved
in all new developments, including a varied educational programme,
as well as producing her own work which she supplies to galleries
She also teaches at various places, including the St. Ives School
of Painting, Tate Gallery St. Ives, and the Newlyn Art Gallery.