I’ve been intrigued and drawn by woodblock prints and wood engraving since I was young. My uncle had a printing press at home and from time to time would request small lino cut illustrations for his own works. As one thing leads to another, I started to make small woodcuts on an amateur basis.

A chance encounter with the fabulous work of Shiko Munakata was electrifying and I began to work at a much bigger scale and to show it. Skill acquired from my work as a carpenter and joiner facilitated progress: the particular nexus that fascinates me still is to find the right speed at which to work at cutting a block to obtain a quality that can not be obtained otherwise. If one is too slow, the work is in danger of stagnating. If one is careless or too rapid, the focus is lost or the feeling is careless.

Working collaboratively with Merlyn Chesterman has been supportive of my work and over the years we have at times worked and taught together.  The creating of Pine Feroda is the latest manifestation of this happy synergy.

In my own account, I have shown works in London and Leeds, Stroud and Shanghai, and have written articles and recently a book (with Merlyn) on the subject.



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