Welcome to my on-line portfolio, here you will find a selection of my art, my drawings, paintings and 3D renderings. This site was first developed as a portfolio of previous achievement, when I was looking at full time study. This study never eventuated, and I continued on in my role as ITC distance support specialist. I have continued with my art as a hobby. This site picks up on that journey from about 1990.

I have been drawing and painting from childhood, high school gave me an introduction to Art history and Chris’ extensive knowledge of music history deepened my appreciation of the cultural timeline. As a child of the ‘60s I developed an interest in comics and line art. Through the late ‘70s as a young artist I had the option to explore many formats and media. Eager to push beyond traditional, I worked with manual prints, screen printing, poster art and photography, often mixing media and testing the boundaries of techniques. I also had private lessons in traditional watercolour. Adopting Postmodern’s departure of concern with form, I explored technics and media as my primary form of expression.

In the early 80s my world changed, the personal computer age had arrived and I began to sell, support and program. It was a natural step to begin my journey into digital art. The first large multimedia project about Wetlands involved pixel graphics and simplistic mouse driven skills. In late 1984 I started working on the new Apple Macintosh, with it’s black and white pixels, and a 1:1 xy screen and printer ratio. This also introduced me to vector drawing, and font design. I not only needed to learn these technics but I trained other artists and business in all aspects of computing.

In the late ‘90s I stepped away from technology for a couple of years focusing on pen and ink, laser and manual woodblock printing.

For 40 years I’ve been, learning, developing, writing, publishing, and helping others with technology. This often involved pushing the hardware and software to the limit. The initial printing of my first colour Laser print run, the results were the size of postage stamps. I constantly pushed against RAM, and file sizes constraints, CPU speed and resolution limits. The work “Home” could not be printed at the correct size or quality for over 8 years. I need to wait for the printer technology to become generally available. Hitting these limits on my custom build PC caused many crashes and lost work, with the release of the iMac I switched back to Apple. Many of the constrains remained but the crashing stopped. With each new model I stepped forward, pushing myself and my hardware. This search for digital limits has become my artistic journey.

Currently I‘m working on our Illuminated pages with Chris. This process uses a range of applications and techniques, Chris designs and draws the line art, the black and white cartoon, then I mask it and paint it. In developing this work flow I found it matched the process used by manga and comic artists and switched from generic apps to applications that incorporated more specialised tools. Even bringing all our technical knowledge and skills to these works, they are extremely demanding and very time consuming as we strive to stay true to the original works of art.

Our hope is that not only will you enjoy these works, but that you will help support us by purchasing one of our prints. Chris is also accepting limited commissions, she has a wonderful collection of knots that can be incorporated into your unique design.
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Over the years I have found a growing niche in illustration, publishing and graphic design. I find this work satisfying and intend to develop it further.

I would like to broaden my range of techniques and develop a greater understanding of my creative processes. I look forward to revisiting physical media and to experimenting in new areas of learning.


"I think continually of some way of painting without the dot. I hope to achieve this but I have not been able to solve the problem of dividing the pure tone without harshness.. How can one combine the purity and simplicity of the dot with the fullness, suppleness, liberty, spontaneity and freshness of sensation postulated by our impressionist art? This is the question which preoccupies me, for the dot is meager, lacking in body, diaphanous, more monotonous than simple, even in the Seurat's, particularly in the Seurat's [paintings].. I'm constantly pondering this question, I shall go to the Louvre to look at certain painters who are interesting from this point of view. Isn't it senseless that there are no Turners [here]." Letter from Pissarro to his son Lucien dated 6 September 1888