I trained in Textiles at Goldsmiths College in the 60's, specialising in constructed textiles. The 3 year course leading to the Advanced Diploma in Art and Design was new in conception and we were encouraged to break the boundaries and move away from the traditional image of Embroidery. Central to the course was the huge emphasis placed on the importance of drawing, both from life and the imagination. This has proved invaluable on my creative journey.

After several years teaching Textiles in Schools and Colleges of Further Education and eager to return to my own practice, I embarked on a further Degree, this time in Fine Art specialising in paint and print. I was eager to explore my immediate landscape, the Salisbury Plain, which is an area steeped in history and surrounded by Bronze and Iron Age monuments. It is an area that represents more than just the visual aspects of the scenery and is a rich and historical record of material features and human activity. My main concerns were with issues relating to man's insignificance in the landscape and of distance and separation and about issues relating to time, death and previous lives.

A personal style of working slowly began to emerge. I worked in paint and print, sometimes combining several media within one piece of work. My previous training in Textiles continues to inform my work, surface and texture often inspiring a new departure. It is the physicality of the process and the destruction of the surface and the building up again ongoing process, a dialogue in time, leaving traces onto which the whole process can begin again. I love the unexpected delight when some trace from a previous layer is exposed . I obliterate, I change, I compensate and the image slowly evolves.