My inspiration comes from my visits to Penwith in Cornwall, a magical land encircled by seas. It is littered with the detritus of long ago, from Bronze Age cromlechs and Celtic crosses to the ruined engine houses of its abandoned tin mines.
The moors are a pagan world of standing stones and sweeps of bracken crowned by granite cairns and above the cliffs, a prehistoric landscape of small, misshapen fields, cattle pastures held fast since the Iron Age in a web of granite hedgebanks.
My colours, intensified by the dazzling Atlantic light, are the gorse and the heather, sea and sky, the strident greens and yellows and orange-gold of lichens on granite and a multitude of greys.
My imagery comes from the stones. I am excited whenever I come across a menhir or quoit, stone circle, barrow or carn. Most recently I have visited a fogou, in the courtyard house settlement of Carn Euny. The fogou, constructed around 500 BC, is invisible from above ground. A low stone lined passage leads to a remarkable circular corbelled room, more than two metres high and four metres across. My paintings are recreations of these memories.