International
Gallery Le Deco, Tokyo, Japan, "East/West Contemporary Art", 2004; handmade paper collage
Utraque Iungo Gallery, Vienna, Austria, 1999; paper & plaster reliefs
Wasserturm, Vienna, Austria, 1983; paper works
Saturday Gallery, Ohio, USA, 1988; "British Book Art"
New York Public Library, New York, USA, 1984; "International Book Art"

National
Christie’s, London, 2004; Pop Art
Eckersley Gallery, University of the Arts, London College of Communication, London; 2002; "The Creative Screen"
First Edition Gallery, Canary Wharf, London; 2002; "Pulp/Paint/Print"
Ikon Gallery, Birmingham, 2000; Ikon Gallery on National Tour; Handmade Paper Installation
Barbican Centre, London, 1991; "Volcano"; handmade paper collage
Pitshanger Museum Gallery, 1998; "Visual Field", on National Tour; Handmade Paper Installation
Edinburgh Festival, 1983; "A Library of Strange Books",
Christie's Gallery, London, 2005; Pop Art
Christie's Gallery, London, 2006; Modern British Prints
Centre for Developemental Arts, Glasgow, 2007; Mental Image


Taught at Central St Martins; Croydon College of Art; London College of Printing; ...and various State schools - often
involving performance and art therapy; ran my own art workshops as a private tutor.
Worked as designer for top textile and wallpaper firms Heals Fabrics/Sandersons/Hull Treaders/Primavera/Coles
Wallpapers Ltd)
Formed the ‘Paper Group’; 1996
Member Landscape and Arts Network; www.landartnet.org; 1993 to date.
Supporting the charity Life's 4 Living; www.lifes4living.org
Art work at gallery www.organicpanda.co.uk


British Musseum, London; screen prints
Hunterian Museum & Art Gallery Glasgow
Victoria & Albert Museum, London, UK; Textiles, paper work, screen prints, Artist’s Book
http://www.vam.ac.uk/vastatic/microsites/1211_sixties/hull_moire_page.htm
V& A Museum, London, UK; screen prints
University of the Arts, London College of Communication; screen prints www.lcc.arts.ac.uk
Ruth and Marvin Sacknar Archive, Miami, USA; Artist’s Book




My interest in the close relationship between art, mind and body dates back to the 70s when studying the “human aura” (the electromagnetic energy emitted by the human body.) As part of the project it became the subject of my first ever solo exhibition held at the ICA Gallery London 1970. At that time awareness in and support for” art and wellbeing” was limited. It has now become an industry in itself with funding from big corporates, the NHS, and private agencies.

I am fascinated by the differing ideas and methods used by ancient civilisations for healing through colour, shape, scale, and configuration.

Many of them appear to be substantiated by contemporary scientific research into stress and ill health, and many of them are still in place today.Whilst the ancient Romans used the colour purple to denote light, power, high rank in politics, the Aryurvedic system venerated it as the highest and connected it to the pineal gland on the body chakra chart. For the Chinese it represented truth, spirituality and wisdom, and related directly to the kidneys which they considered to be the storage point of a person’s very essence and their “life gate”. Both of these civilisations recognised that colour was made up of vibrations which resonated with everything from bodily organs to emotional states.

The early Chinese metaphysicians in particular believed that all energy is composed of a unity of opposing forces –Yin/Yang, which drives the life force through their internal contradiction. This in turn brings about harmony and balance through every aspect of life from the world at large to humans, their internal organs and their emotional state, and consequent good health. The five elements, Earth, Metal, Water, Wood, Fire, relate to specific colours so that it could be used as a science for healing. So…. attraction to green/light blue indicates a lack of the wood element, to black/purple a need for more water element. The art of Fen Shui is a sophisticated manifestation of these five aspects and indicate how colour, positioning, scale and shape can bring harmony and health into our living spaces.

It is undeniably true that certain colours appear to have inherent qualities.
Red is inflammatory – it’s fiery, blue is cool and quieter.
An interesting experiment in 19th century France by physiotherapist / chromotherapist Charles There, showed that red light projected onto the arm of one of his hysterical patients created severe muscle contraction, blue less so, and purple hardly at all, and this was with closed eyes.

I have found from everyday experience and as an art teacher that there does not seem to be any watertight absolutes for colour preferences by different people, whether or not they have any previous knowledge of colour theory. In general they are influenced by cultural background, fashion, memories, dreams and fantasies’
For this reason I have not consciously used it for specific purposes. In the final instance it is up to the viewers to make up their own minds. I have however consistently made use of natural forms as I believe they resonate more easily with the inner spirit to create an uncluttered state of mind- a basic prerequisite for healing and good health.