Wednesday 26 October 2016

St Michael

This oil painting is a small triptych that I use as a reredos when I re-enact.

The central figure is based on a renaissance painting, but I made some alterations to the armour and placed him in an English countryside.

The two bits of heraldry are variations of the arms I use as Bishop Thomas de Velmont.

I used a variation in technique for this work, as the under painting was done in acrylic, with oil worked in coloured glazes in subsequent layers.

Until next time


Wednesday 19 October 2016

They Seek Him Here

This acrylic was inspired by an image of a  young man in shorts leaning against a wall.

As you can see, my vision gave him a full suit of clothes.

I read the Baroness Orczy’s classic tales of the Scarlet Pimpernel at a young age and have enjoyed films and TV series based on the stories and characters over the years.

I am still pleased how this picture turned out..

The title is , of course, from Sir Percy’s witty rhyme, but could be interpreted slightly differently....

Until next time


Wednesday 12 October 2016


This painting was a commission for  one of the stall-holders at a Science Fiction convention, who wanted it as a wedding anniversary gift to his wife.

The brief was a female fighter in my style.  I like that kind of commission, as it does not require me to try to read my client’s mind ...

I had recently read Mary Gentle’s book Ash, set in a alternate history fifteenth century Burgundy and, hence, produced this painting.

I have an advantage when painting plate armour, as I am a medieval battlefield re-enactor;  not only do I own some, but I know how it works when you are wearing it.

Until next time


Wednesday 5 October 2016

Bodies in Motion

Whilst I do not claim to be able to articulate the full meaning of my work, most of it has a plan, or some initial concept.

On occasion, however, I am of a mood to let my unconscious out for a jog.

 I just paint and see what happens. I did this more often when I was at art school and sometimes I look at old painting to see if they will spark a new image.

I usually do this in acrylic, as the faster drying times and opacity of the paint allow more immediacy and for elements to be altered, or painted out. I carry on working on these images until they tell me to stop.

 I am sure there are lots of interpretations for this picture, but I  think I’ll leave it as ‘ this seems to is kind of what I was feeling at the time’

This example is called  'Bodies in Motion'. It is in oils and reused elements of these two much older paintings: Cry Wolf (acrylic on board) 

and Phases (oil on canvas).

Until next time