2 x 4 metres panel of Jurassic limestone consisting of 12 pieces from the Lincoln Cathedral Quarry incorporates red gold, moon gold, white gold, Thai temple gold and Dutch metal. Silver Thread is made from Jurassic limestone mined from the quarry, which provides material for the conservation department and renovation of Lincoln Cathedral. The specific cut of the stone, where the small fragments of fossilized shells embedded in the rock for some 200-135 million years are particularly rich, is an important element in the design. The gilding of the fossilized forms in various coloured gold leaf reveals the hidden circles of ancient time and space, and is inspired by the archaeological objects in the museum’s collection, historic materials and ideas of craftsmanship. The panels are designed to be situated on a large wall under a sky light in the body of the building to enhance the experience of workers and visitors to the museums offices. The play of light across the surface questions the physical quality of the material and illusionary forms. The Collection completed in 2005 for Lincoln County Council is a RIBA prize winning design by Panter Hudspith Architects and is a landmark building for the city. It incorporates the use of local limestone and its structure creates connecting views throughout that frame the Cathedral both visually and symbolically. The commission Silver Thread was a direct result of a number of temporary installation works made for the gallery over the period 2006-08, a panel for the permanent collection for the Usher Gallery, Lincoln in 2003/4 and a developing relationship with the curators.

Co-wrote with Caroline de Lannoy, Daniel Preece, Ian Rowlands, and Sandra Smith a 66 page illustrated booklet and on online guide to painting. Organised the overall concept and writing of the workshops and the teaching for the illustrations. Online edition: http://www.guardian.co.uk/artanddesign/2009/sep/20/guide-to-painting-the-tutors Features an introduction by writer and critic Matthew Collins, an article on subject matter by Guardian art critic Laura Cummings and interviews with international artists including Chris Ofili, Cecily Brown, Frank Bowling, Fiona Rae, peter Doing, Michael Craig-Martin there are more are the names needed Contents: Equip Yourself – Materials and equipment The Language of Colour – Colour Theory Mixing it up – 6 exercises on tone, temperature, colour mixing and saturation Seeing things differently – 4 exercises on optical colour mixing, local colour and temperature, grounds and glazing. Colour me happy – 4 exercises on colour relativity, colour composition, optical and spatial effects and mark. Placement and proportion – 4 exercises on scale, space, eye-level and the picture plane. Finding your flow – 5 exercises on gesture, symmetry, shape, rhythm and composition. The guide is designed to develop an understanding colour and composition and the fundamental role drawing plays within that. Its purpose is to explain the basic materials and equipment of the painter’s craft, to encourage and enlighten beginners and be used by more experienced artists to revisit some sound ground rules. It explains and encourages an awareness of the visual world of painting with exercises that have the scope for personal experimentation and invention. They are structured to be worked on sequentially, developing practical skills alongside an understanding of perception. The commission was an opportunity to explore and promote ideas relating to good studio practice and communicate with a large audience teaching methods that have been developed with colleagues for over 20 years. It provided the circumstances to engage in discussion and evaluate the academic and technical possibilities within our practice.

The Alexandra Works is a commission funded by NHS LIFT Hull situated in the purpose built Alexander Primary Health Care Trust which is an amalgamation two practises under one roof sharing the common space of the reception area. It is part of a larger scheme incorporating a number of other practices, which believe that a good environment and art can create a therapeutic and beneficial effect on patients. The brief was to design an environment that created a sympathetic situation and to bring unity to the architectural common area. The final works came out of a direct response to discussions and several practical workshops within the two communities including both patient and worker groups. I personally desired to make works that were timeless and pertinent to the present, taking into account its regeneration, the future of the children and the changing face of the area. The works incorporate the technique of mosaic, particularly associated with the Romans, and imagery developed through numerous researches that related to Hull’s historic past and achievements. The nature of the material and technique are deliberately robust and tactile. The use of the practice name, Alexandra in the large mosaic facing the entrance, announces and celebrates the coming together of the two groups and creates an overall uplifting environment, enhancing the experience of it’s inhabitants. The smaller mosaic incorporates alphanumerical and marine imagery, made with the children in mind, is located at a sympathetic height to create an intimacy and unthreatening situation. The use of gilded surfaces throughout the works and particularly the circular window welcomes a stronger sense of light into the space. The use of colour, material choice and design engage the mind in ideas of beauty and calm. As part of the overall NHS LIFT project I was invited to produced 3 digital prints for the collection, they incorporate images of Roman medical instruments, measurement and ideas related to archaeology and archiving NHS LIFT Hull Digital Print Project 1. Diurnum No. 7 2. Diurnum Nos. 1,2,5 3. Diurnum No. 3 These works respond to the notion of journey, travelling in time, distance, and a voyage. Diurnum means literally a 'day’s portion' of a journey. The prints incorporate images of Roman medical instruments, measurement and ideas related to archaeology and archiving. The digital print is a new venture for me but sits well within my practice corresponding with the use of digitally produced images for transfer and the’ Navigator series’ of chine collee etchings which represent the journey and the journeyman within, travelling and circumnavigating our internal territory. List of works: Alexander - mosaic 4 ft x 8ft. Mosaic II - mosaic 2ft x 8ft. 6 Notice boards with gilded frames 4ft x 3ft Gilded circular window ledge 3ft x 1ft