Most of the drawings are pencil on gesso primed wooden boards, they are protected by an acrylic lacquer so they can be hung directly without framing behind glass.

If you are interested in purchasing an artwork please go to my Contact Page for T&C's and payment options, payment via paypal is accepted.

If a piece you like has already been sold you can commission me to draw something similar.
Instalment plans available on request

Photographing drawings is difficult, the backgrounds come out all shades of grey, however they are all pencil on 'white'.  I can email more photos of a particular piece on request.

More detailed information about some of the artworks can be found on my blog.

The Light Of The Ones Who Came Before
Pencil on gesso primed wood; 49 x 73.5
£700
(Framed behind Glass)  The background is uniformly white, the grey tinge is purely a problem with the photography)

The Light You Leave
Pencil on gesso primed wood; 30 x 30 x 1 cm
£400 
Framed with glass
Where When Lingers
Pencil on gesso primed wood, protective acrylic lacquer; 46 x 35 x 1 cm  
£800
Framed - no glass

Receding Light 
Pencil on gesso primed wood, protective acrylic lacquer; 40 x 29 cm 
£600 
Framed - no glass 

Deap Seas of Cloud
Pencil on gesso primed wood, protective acrylic lacquer; 33.5 x 30 cm 
£400
Framed - no glass

Never Mine To Keep
Pencil on gesso primed wood, protective acrylic lacquer; 73 x 57 cm (framed - no glass)
£1200 

A Storm Gathers
Pencil on gesso primed wood; 40 x 40 cm 
£300 

Bloodstream
Pencil on gesso primed wood
£300 

Molten Light
Pencil on gesso primed wood; 73 x 66 cm
Private Commission 

To Kiss The Sunlight 
Wood, gesso, pencil; 74 x 52cm
£1400 SOLD

Songs of Distant Memory
Wood, gesso, pencil, protective acrylic lacquer; 77 x 61 cm   
£1600 (Framed - no glass) 

Out of the Light
Pencil on gesso primed wood; 34 x 27 cm
Commissioned by The Madison Museum of Fine Art, USA. Public Collection

Out of the Light
A sublime hymn to master draftsmanship, this exquisite pencil drawing adds new technique to the history of drawing. Contrary to convention since antiquity, the artist rejects the practice of drawing on paper since the textured surface becomes part of the image.  Rather she applies pencil to a highly polished gessoed wooden board so the viewer can focus solely on the image.  Using a hard #14 pencil, she builds her images with tiny marks embedded in the gesso. The result is a glittering ocean surface image that confuses light and water at the horizon, suggesting a physical and spiritual illumination. 
Madison Museum of Fine Art

The Space Between Us (diptych)    
Wood, gesso, pencil, protective acrylic lacquer; 27x 31cm
£400 (framed) 

Stealing The Light From The Sun III
Wood, gesso, pencil; 52 x 72 cm
Private Commission 

Stealing The Light From The Sun III
Private Commission 

In Amidst II       SOLD                            
Wood, gesso, pencil; 50.5 x 60.5 cm
£500                      
In the centre of the drawing is a leaf, the rest is all shadows.  For most of us only a fraction of our perception of our life is centred in the present, for the shadows of past experiences and expectations of the future envelope and effect our present.

  " Besides its beauty this painting reminds us to be in the present and cherish the moment." quote from purchaser

Melancholy Strings (Triptych)   SOLD
Wood, gesso, pencil; 33 x 30 cm (each section)
£1000

Life doesn’t fade to black it’s simply lost from view.

Melancholy Strings (detail of 1st picture) 

Melancholy Strings (detail of middle picture) 

Melancholy Strings (detail of 3rd picture) 

This set of drawings should really be a quadtych really with the fourth being completely white, the light through the trees growing brighter, bleaching life away.

It is inspired by something that happened a few years ago: my little daughter was sitting on the arm of the sofa when she fell off backwards banging her head on a stool that was nearby; she really screamed but I wasn’t unduly worried, children make such a huge fuss, then she put her hand to the back of her head and when she pulled it away blood was pouring down onto her wrist - at that moment I was flooded with scenes from films or tv which use the common scenario of someone being knocked or falling over and it seems innocuous enough but then they put their hand to the back of their head to discover it covered in blood, then they promptly and unexpectedly collapse and die. 

It made me realise just how much images from todays media are part of our psyche.  (By the way my daughter was fine). 

I tend to visualise my life in quite a cinematographic way, and this triptych employs the cinematic ploy of the light growing brighter and the characters eyes blurring as their life ebbs away.  The title refers to the soundtrack.

 Stealing The Light From The Sun II    SOLD
Wood, gesso, pencil; 27 x 34 cm
On exhibition with The Royal Society of Marine Artists Annual Exhibition 15th - 27th October 2013, Mall Galleries, London  SOLD

Memories of Green
Plaster, gesso, pencil; 24 x 26 cm
£100 

The Space Between Us (detail of left hand side)

 

The Space Between Us (detail, right hand side) 

Leaving Me  
Wood, gesso, pencil; 34 x 27 cm
SOLD

Bring your own interpretation to my drawings, they may mean different things to you on different days, however people like to know what it meant to me.  My daughter spent her first holiday away from her family recently, so this was representative of her moving away from us both emotionally and physically, it also represents my mixed emotions, she has not been an easy teenager so it’s often nice not to have her around but I still miss her. 
Other times when I look at it it I want to leave ‘me’ behind, escape from my worries and concerns, to be able to drift and not be always frantically paddling.

 Stealing The Light From The Sun
Wood, gesso, pencil; 
SOLD

The Light On The Dark Side Of Me (diptych)    
Wood, gesso, pencil; 27 x 68 cm
Public Collection:  21st Century British Artists Collection; Swindon Art Gallery and Museum

Detail from The Light On The Dark Side Of Me 

 Detail from The Light On The Dark Side Of Me

Relinquish                                          
Wood, gesso, pencil; 27 x 34 cm
£150
Are you drifting down into the depths or rising to the light

 All at Sea
Wood, gesso, pencil 27 x 34 cm; 
Finalist in the Saatchi Drawing Showdown, featured in BBC2 Show Me The Monet
SOLD

The Space You Left Behind
Wood, gesso, pencil; 40.5 x 60.5 cm; 
SOLD  

 You Cannot Have It All                        
Wood, gesso, pencil; Triptych 20 x 15 cm x 3
£50   SOLD

 Never a Forever Thing        SOLD           
Wood, gesso, pencil; 42 x61 cm  
£300

Never A Forever Thing - Miniature (framed)
Private Commission 

Vessel
Wood, gesso, pencil;
SOLD

Gathering Storm   
Wood, gesso, pencil; 48 x  48 cm
Public Collection: East Contemporary Arts Collection; University Campus Suffolk
Gathering Storm is drawn from the feelings of anxiety felt in anticipation of my daughter becoming a teenager. In the foreground sits a quiet and pastoral landscape, while above chaotic clouds roll onto a once tranquil scene. Both the viewer and the artist as mother, are left to speculate on whether the storm brings rain to nurture the land and just when the sun will break through the clouds.

I had a little girl once
With blue eyes and dark hair
she looked like me
Never was she quiet though
And I looked at her with wonder
At a me that never was
But we pay a price for that bright spirit
And with gathering speed
A storm approaches

 Into the Woods   
Wood, gesso, pencil; 21 x 19 cm
£200  SOLD

Bound by   
Wood, gesso, pencil 27 x 34 cm
£100

Wrecked
Wood, gesso, pencil; 27 x 34 cm; 
SOLD
 "The poet lives a daydream that is awake but above all his daydream remains in the world facing worldly things.  It gathers the universe together, around and in an object"  Bachelard

 Shadow Of     
Wood, gesso, pencil; 27 x 34 cm
£50

WreckedII  
Wood, gesso, pencil; 40 x 60 cm,
£150
"The poet lives a daydream that is awake but above all his daydream remains in the world facing worldly things.  It gathers the universe together, around and in an object"  Bachelard

 Midlife Drift
Wood, gesso, pencil 60 x 39 cm
SOLD
Midlife Drift, as the title implies, is an exploration of both physical and mental space. Here, nature is used as a metaphor for a dynamic state of existence.

The Truth That Lies Beneath The Surface Life
Dress, gesso, pencil; Installation view Emergence

The Truth That Lies Beneath The Surface Life
Dress, gesso, pencil;  (Black and white photo of white dress with pencil drawing)

This piece started life when I was reading Sartre, it gave me the idea of fusing layers of reality creating spaces where both appearance and  essence can be manifest.  

An item of clothing is a superficial phenomenon, but which can also be regarded as a deep surface, a manifestation of the unconscious as a facet of existence, which instead of being hidden is expressed.

 The shadows are a reflection of something both beyond and within the person.

 I was expressing the idea that as our outward appearance changes, our essence remains, our past is not wiped away by new experiences but becomes part of a whole.  I wanted to make space within an object where contemplation is possible.

Sinking Ship
Paper, pencil; 
This work informed part of my dissertation 'Mother Dearest' (link below)

mother_dearest_dissertation3_with_numbers.pdf mother_dearest_dissertation3_with_numbers.pdf
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In Amidst    
Wood, gesso, pencil; 27 x 34 cm  (poor photograph, pencil on white gesso)
Collected by Robert Priseman, part of his 21st Century Artists collection which he has made available for loan to museums and galleries and which he has created to promote British artists and  http://www.robert-priseman.com/museum-collections/priseman-seabrook-collection-21st-century-british-painting/

In my drawing there is one tiny leaf, this is the moment that we live in, and that present is created and enhanced and given meaning by all that has come before, the shadows of our past and the dreams of the future.

I use trees in my work because it is a universally understood image of representing life, ‘the tree of life’ however I don’t use the whole tree rather just branches, so that it removes the 'mother earth’ connotations, the tree of life tends to be linked to spiritualists, druids, etc, and much though I love hippies, my kids middle names are Rainbow, Sky, Ocean and Moonlight, my images are not related to any particular movement or belief system (I've just spent a week in Glastonbury and it’s an over-used motif).I use trees in my work because it is a universally understood image of representing life, ‘the tree of life’ however I don’t use the whole tree rather just branches, so that it removes the 'mother earth’ connotations, the tree of life tends to be linked to spiritualists, druids, etc, and much though I love hippies, my kids middle names are Rainbow, Sky, Ocean and Moonlight, my images are not related to any particular movement or belief system (I've just spent a week in Glastonbury and it’s an over-used motif). here to edit this text.

Reflecting On               
Pencil, gesso, wood; 27 x 34 cm
Collected by Robert Priseman, part of his 21st Century Artists collection which he has made available for loan to museums and galleries and which he has created to promote British artists and  http://www.robert-priseman.com/museum-collections/priseman-seabrook-collection-21st-century-british-painting/

And it Goes On
Dot matrix paper, pencil; 
£300

 Below are images of DayDreaming A Life Facing Worldly Things; My Degree Show Installation, I have added links for the text explaining its creation, the film Vessel which was part of the installation, and my dissertation which is related.

Synopsis of Degree Show Installation.odt Synopsis of Degree Show Installation.odt
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mother_dearest_dissertation3_with_numbers.pdf mother_dearest_dissertation3_with_numbers.pdf
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Type : pdf

 Daydreaming a life facing worldly things
Drawing and Film Installation; Degree Show 2011 

Degree Show Detail

Vessel
Film; Installation view Degree show 2011 

Breaking Up (part of 'Day dreaming a life facing worldly things' installation)
Wood, gesso, pencil; 27 x 34 cm

Ripples         (formed part of the installation 'Daydreaming a life facing worldly things')
Wood, gesso, pencil; 27 x 34cm
£50

Spaces Within (detail from Panamama exhibition)
Box, dress, gesso, ivy, pencil; 

Appearance and Being
Leaf, gesso, pencil; 

"...We look at the world once, in childhood
The rest is memory...." 

A1 Board of sketches for exhibition Art and the Coast
Drawings mounted on A1 Card

In 2008, my first year at Norwich University College of the Arts I was given the project ‘My Space’. Well my space was anywhere my four children were not, escaping from my house, washing up, the kids and chaos etc. My space was literally time to be alone in my own head usually when taking the dog out for a walk. I started drawing lots of little images recording something about that walk, but it quickly became more about how I was feeling that day, or influenced by what I had recently read, films I had seen, music I had listened to, the landscape becoming a metaphor for my internal space.

These drawings are the result of that project and some new ones that I did in response to my proposal for Art and The Coast.

As a child I grew up in the small Midlands town of Rugby, but we had a caravan on the windswept cliff top at East Runton in Norfolk, and for 12 years I spent every holiday running wild along the coast from Sheringham to Cromer.

I have lived in North Norfolk for the last 15 years and still I view the landscape as representing a wild freedom, childhood memories blurring reality. I proposed to make multiple postcard size drawings, reflecting the experience of being in a certain place along the coast on a certain day, as I had in my college project. Some of the drawings were to be made on days when I had not visited the coast but had instead used my memories of the landscape or weather on past visits. I wanted to draw what I knew and experienced not just what I saw.

Drawing was particularly relevant to this project as in drawing there is a relation with the provisional and unfinished; it exists in a state of suspense. The present is an amalgamation of the past and future – both of which are absent, so drawing is the present that shows the trace of something that is no longer there.

The postcard size of the artwork was to reflect not just my own connection, but also the coasts dependence upon tourism.


People often look at my work not sure what media it is, is it some kind of photo or a print? They comment that they have never seen anything like it be.

My artworks are all hand drawn with a pencil, however I do not work on paper; this is because the textured surface of paper always becomes an integral part of a drawing, however my work is purely about the image, it exists free from it's substrate.  I work on wooden boards which are sprayed with gesso, and lightly sanded down to give a very smooth surface onto which I draw directly. I use a very hard 4h pencil, because the surface is hard anything softer creates too much loose graphite. Gesso is an unforgiving medium to work on, unless the mark is very light you cannot rub it out, so I have to work carefully and meticulously.

Finally I have the boards sprayed with a protective acrylic lacquer which effectively makes the work wipe clean.
The art critic David Lee said of my work "It's not often you find work that wants to draw you in".  I think part of this is because of the purity of the image achieved through my chosen media.

I spoke to Jeremy Vine on Radio 2 about the use of the sea in my art 
Link below

Kirsty-on-Radio-2.mp3

New work is regularly uploaded so please visit again soon 

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