I have been painting on and off all my life.

I started at school, then at home, in the Army, up mountains, on exploring expeditions - in fact whenever I felt confronted by 'motifs' that just had to be sketched or painted. The demands of a family and a Service life made painting difficult at times but there were always productive periods, such as the years when I was stationed in Nepal and trekked all over the country, to very remote parts and often alone.  In this case I produced over 100 watercolours of places that few other westerners have seen.

I left the Army in 1992 and worked as a consultant but there seemed to be even less time for art.  Then in 2000 I made the decision to concentrate every moment I could spare on developing as an artist.  I feel that I have come a long way since then but all art is a continuous journey - which makes it so interesting, exciting and at times scary!

In 2003 I started to exhibit my work, locally at first but after joining the Armed Forces Art Society and Army Art Society in 2003  I started selling my work at the annual AFAS and AAS shows.  Other developments followed, some as part of a plan, others as opportunities that just presented themselves.  They included having work accepted for the Royal Institute of Oil Painters (ROI) annual open show, curating a stand at the Affordable Art Fair in Battersea Park, taking part in various Oxford Artweeks events, being interviewed about my work on Radio Oxford, testing artists acrylic paint for a major supplier, winning a small prize at a ROI painting evening and even discovering a new pigment ('Beckley Ochre') in the quarry that is part of my garden!  Each year brings new things.

I now paint full time and I enjoy every minute of it.  For someone who is primarily a landscape painter the call of the outdoors is ever present.  There is nothing quite like standing in front of your easel in a snowstorm, watching the melting snowflakes emulsifying your paint to a slippery mush and trying to capture the scene in front of you before it dissolves into a whiteout!  Back in the studio I have the chance to plan better, take my time and reconsider but somehow those paintings done on the spot always seem to have an authenticity that studio paintings never quite manage.  Of course it is different with still life, where I have to set up the conditions carefully, and although I sketch in pastel outdoors it only needs a drop of rain to ruin everything, so most winter pastels are done in the studio.

Recently I have turned to tutoring and this has brought the new satisfaction of sharing the exploratory side of painting with other people.  I find it very hard work!  Painting is often a solitary business and tutoring is a great way of connecting with other artists and 'sharing the struggle'.