Passion - Fletcher Sibthorp

1

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Photography of artworks by Lee Stanley (Dunstable, Beds) Design by Nicci Walker Š Fletcher Sibthorp Aruna Vasudevan Buckingham Fine Art Publishers Ltd Sparrow Hall Farm Edlesborough Beds LU6 2ES England e-mail - admin@bucksfineart.co.uk website – www.bucksfineart.co.uk ISBN number

Printed in China

PAINTINGS, DRAWINGS AND STUDIES, 1998 - 2005

PUBLISHED BY

BUCKINGHAM FINE ART PUBLISHERS

Š nicci walker

Born in Hertfordshire, England in 1967, Fletcher Sibthorp

depicting movement and action as shown by the work focusing

has had a successful career as a painter since graduating with

on dancers, such as “Flamenco Red”, and the deeper, darker,

Honours from Kingston University in 1989. To the viewing

more contemplative studies that form par t of the ongoing

public many of Fletcher’s paintings may seem familiar: they

“Quiet Space” series. While the former are to do with essence

adorn the walls of art galleries, restaurants, private residences

and with capturing movement and energy, the many paintings

and commercial premises around the world and have featured

that comprise the “Quiet Space” series are much more

on the covers of many books. He is one the most successful

concerned with creating a narrative. Sometimes the titles, such

published artists in the UK today, with many of his limited

as “Danae”, “The Magus” or “Icarus”, inspired by a legend or

edition prints highly sought after.

myth, hint at the story behind the painting.

The lure of figurative painting

“I like the idea of classical themes,” Fletcher comments,

Primarily a figurative painter, Fletcher draws his inspiration

“mainly because they are so universally recognizable

from many different sources: books, music, travel and - more

that only a few simple elements are needed to create a

specifically - dance performances.

theme; their simplicity is what makes them contemporary, but they are influenced by the ancient. I like this

“I was always interested in the human form and except

juxtaposition.”

for a few paintings have painted nothing but,” he says.

“To interpret weight, form, light and then the flow and

Style and technique

line of the human form … is the challenge. To create

Although some critics believe that Fletcher Sibthorp is

the body with as much economy of line as possible,

a traditional painter, his methods are in practice highly

like Gustav Klimt’s drawings, is the ultimate goal. As a

experimental; Fletcher himself refers to his style of work as

figurative painter, I also like the way you are involving

painting by serendipity, or painting on the edge. Fletcher states

the viewer. You are asking them to interpret and add their own experiences to [a] painting. People can’t help

“Painting for me is an expressive process. My role

but associate or relate to a figurative work. It’s not the

is to decide whether something works … and if

same with a bowl of fruit or landscape, no matter how

certain elements add anything to the whole. It’s

dramatic it is.”

a fine balance of control and experimentation.

Even I don’t know how the paintings will develop.

Fletcher’s work, as the paintings and studies reproduced in this

They

take

on

book illustrate, falls into two main categories: those paintings

own spirituality.”

their

own

life,

creating

their

Fletcher’s preferred medium is oil, mainly because it

smooth surface of board enables the artist to use grand

enables him to experiment and also lends his work a

sweeping strokes and to create a greater sense of fluidity.

fluidity that acrylic, for example, would not. Oil also has

He can also use gold directly on board, without having to

the added advantage of being more malleable; it dries

overlay it with glass first. Using board allows Fletcher to be

less quickly, enabling Fletcher to paint “in the wet”, and

more expressive more quickly and gives his work, he believes,

the gradation of colours is far more subtle for this

more energy and movement.

reason. Fletcher prefers to use oils as they have a greater longevity;

he also believes that the density of

colour is quite astounding.

Fletcher often uses canvas pinned to board, preferring it to canvas pre-stretched across a frame because it affords him greater flexibility in the composition of his work.

Oil also enables Fletcher to experiment. In the “Quiet Space”

Sometimes even subtle changes in the cropping of a piece can

series he quite often mixes mediums, using oil alongside

affect the overall feel of the composition, and working in this

such everyday goods as wax, lace and glass to help vary

way gives Fletcher complete freedom in the framing of the piece.

texture, dimension and even mood. In his 1999 painting “Danae”, for example, Fletcher overlaid the painted canvas

The importance of dance

with museum glass, which is non-reflective; he then laid

Although Fletcher has always been interested in dance,

gold leaf and varnish and painted onto the glass. He

he steered clear of using it as a subject for his work for many

also used this technique in “Flamenco Gold”. Each time

years, mainly because of the obvious comparisons such a

the viewer comes back to these paintings he or she notices

genre inevitably draws with that of other artists. While he had

something more—a different shadow or texture, perhaps—

explored movement and its effect on the human form through

that adds to the mood and interpretation of the study.

his studies of sports people and gymnasts, which culminated in an exhibition called “In Motion” in 1992, it was only after

More recently Fletcher has star ted to experiment with

Sadler’s Wells approached Fletcher to paint the Spanish

resin rather than glass. The process is more complicated,

flamenco guitarist Paco Pena’s dance company that he

although the effect is extremely interesting, as it allows

began to work more widely in this area. Fletcher says he

for a more multi-layered approach.

is interested in the energy and passion of dance, the costumes and the human form in motion rather than the music itself

Fletcher has also begun to move away from using oil solely

and this is obvious in such works as “The White Shawl III”,

on canvas; in several of his most recent pieces he has painted

“Black and White” and “Dancing Dress”.

with oil directly onto board instead. Fletcher insists that there is a textural difference between using oil on board and oil on

Unlike other artists who concentrate on studio rehearsals,

canvas. The “tooth” in canvas, primed or unprimed, means

most of Fletcher’s dance studies are created from photo and

that it is not a fluid medium with which to work, whereas the

video footage gathered at press calls and dress rehearsals

of performances. He prefers these as the light and sets add

recognizable visual clues, such as a face, the line of a

another inspirational dimension; light is particularly important

shoulder or hands, as points of reference. Fletcher’s pieces

to him. His use of film recordings taken at these events,

are lent their evocativeness by the very nature of how and

enables him to carefully analyse the lighting, the movement

what he chooses to abstract, to express or even to omit from

of a skirt for example, or the play of muscles in a dancer’s arm

his canvas. They allow the viewer a certain amount of

at any particular moment.

personal interpretation but they are never abstracted to the extent of being meaningless.

“When a body is caught on film at a slow shutter speed it is abstracted. I quite like that—bits of bodies missing,

“I believe that artwork, especially my kind of work,

blurred. It is a bit like a visual puzzle, where the viewer

should be self-explanatory as it is a visual language. If

fills in the gaps,”

you have to explain it, you are failing to a certain extent.

Everything should be conveyed in the painting.… I would

Portraying the position of a dancer’s body accurately is essential

go along with Oscar Wilde, who once said, “A picture

to Fletcher’s work, though. He believes that he can explore

has no meaning but its beauty, no message but its joy”.

other details, such as colour or texture later.

For many, Wilde’s words sum up the essence of For most of his paintings Fletcher produces a line drawing

Fletcher Sibthorp’s work.

and/or colour study on drawing film before he paints the final piece. If he is happy with a particular drawing he will —A. Vasudevan

keep it and use it as the basis for a colour study. These studies allow him to get to know his subject and to decide if there is an area on which he particularly wants to focus.

They also allow him to experiment with colour, body movement and light. For the painting “Twenty One,” for example, Fletcher produced four or five line drawings and two colour studies before he was completely happy with his portrayal of light and shadow.

While the audience immediately sees the dancer in his or her entirety in some paintings, in others, such as “Dancing Dress” Fletcher has deliberately created a visual puzzle, using expressive brush strokes or an intriguing play of light and

The selection of paintings and studies in this book are drawn

shadow while engaging the viewer with a few immediately

from both his portrait and dance work.

I dedicate this book to the energy and artistry of all dancers, whose spirit and commitment to perfection always inspires.

A painting is just the beginning, so I would like to thank friends and family and all those who have been involved in promoting and exhibiting my work over the years.

Your encouragement is invaluable.

Finally, to my wife Nicci, for creating this beautiful book and for being my harshest critic and my guiding voice.

FLAMENCO 10

MODERN DANCE 94

QUIET SPACE 120

List of works 153

Solo exhibitions 156

Flamenco is the means through which man reaches God without the intervention of the saints or angels. ~ LUIS ANTONIO DE VEGA

12

FLAMENCO GOLD (Detail)

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STUDY FOR FLAMENCO GOLD I

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1998

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Charcoal on paper

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Limited edition print

FLAMENCO GOLD

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1998

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Oil and mixed media on canvas

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Limited edition print

15

16 COLOUR STUDY FOR FLAMENCO GOLD II (Detail)

COLOUR STUDY FOR FLAMENCO GOLD II

I 1998

I Mixed media on paper

I Limited edition print

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18

LEYENDA (Detail)

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ARCHED BACK

I

1998

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Oil and mixed media on canvas

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LEYENDA

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1998

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Oil and mixed media on canvas

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STUDY FOR LEYENDA

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1998

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Mixed media on paper

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ARCHED BACK - STUDY

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1997

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Charcoal on paper

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ARCHED BACK - COLOUR STUDY (Detail)

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1998

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Oil and mixed media on canvas

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24 YELLOW DRESS COLOUR STUDY (Detail)

YELLOW DRESS COLOUR STUDY

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I Mixed media on paper

I Limited edition print

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WITH HANDS HELD HIGH - COLOUR STUDY

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2000

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WITH HANDS HELD HIGH

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DANCING DRESS

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2003

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STUDY FOR DANCING DRESS

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Charcoal on paper

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DANCING DRESS (Detail)

DANCING DRESS COLOUR STUDY I

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WHITE ON BLACK COLOUR STUDY II (Detail)

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WHITE ON BLACK (Detail)

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WHITE ON BLACK

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WHITE ON BLACK STUDY II

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Charcoal on paper

WHITE ON BLACK COLOUR STUDY II

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Mixed media on paper

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MAGENTA

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COLOUR STUDY FOR MAGENTA

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STUDY FOR SARA BARAS II

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Mixed media on paper

COLOUR STUDY FOR SARA BARAS II

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THE SORCERESSES

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THE SORCERESSES COLOUR STUDY (Detail)

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THE SORCERESSES STUDY

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THE SORCERESSES (Detail)

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STUDY FOR NACIENTE II

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I Oil and mixed media on canvas

I 1998

I NACIENTE II COLOUR STUDY FOR NACIENTE II

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1998

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Mixed media on paper

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COLOUR STUDY FOR THREE BILLOWING DRESSES

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2001

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Mixed media on paper

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COLOUR STUDY FOR HIDDEN FACES

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HIDDEN FACES

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HIDDEN FACES (Detail)

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COLOUR STUDY FOR BAILADORA Y CABALLO

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BAILADORA Y CABALLO

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BAILADORA Y CABALLO (Detail)

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TRES BAILADORAS EN ROJA

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THE DARK TURN STUDY

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1998

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Charcoal on paper

THE DARK TURN COLOUR STUDY

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Mixed media on paper

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FLAMENCO VI

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1997

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FLOWING DRESS

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1998

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Mixed media on paper

I 1999

I STUDY FOR THE WHITE SHAWL

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THE WHITE SHAWL III

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COLOUR STUDY FOR ANSIAN

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THE TEMPTRESSES

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Mixed media on paper

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I THE TEMPTRESSES COLOUR STUDY II THE TEMPTRESSES COLOUR STUDY

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THE TEMPTRESSES COLOUR STUDY (Detail)

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COLOUR STUDY FOR PASION

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COLOUR STUDY FOR PASION (Detail)

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STUDY FOR PASION

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DANCING HANDS

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IRRADIAN

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BAILARINA EN NEGRO STUDY

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COLOUR STUDY FOR SARA BARAS

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Charcoal on paper

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I SARA BARAS SARA BARAS

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STUDY FOR BLACK ON BLACK

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BLACK ON BLACK

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FLAMENCO DANCER IN RED

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1994

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LILAC STUDY

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LILAC

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SCARLET

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DE LAS SOMBRES

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ANNA COLOUR STUDY

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ANNA STUDY

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Charcoal on paper

88 EL FUEGO (Detail)

EL FUEGO II COLOUR STUDY

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EL FUEGO COLOUR STUDY

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EL FUEGO

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92 (Top right:) STUDY FOR JOAQUIN CORTÉS

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STUDY FOR THE SPIN

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STUDY FOR JOAQUIM CORTES IV

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JOAQUIN CORTÉS

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OSCURA LUZ

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OSCURA LUZ

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Dance is the hidden language of the soul. 

Dancing is just discovery, discovery, discovery. ~ MARTHA GRAHAM

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NEON (Detail)

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NEON COLOUR STUDY

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NEON STUDY

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NEON

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TWENTY ONE (Detail)

STUDY FOR TWENTY ONE

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TWENTY ONE IN BLACK

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TWENTY ONE

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TWENTY ONE III STUDY

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TWENTY ONE III COLOUR STUDY

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STEPS COLOUR STUDY

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STEPS

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BLUE SHADOWS

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BLUE SHADOWS COLOUR STUDY

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DANCER IN THREE POSITIONS

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STUDY FOR DANCER IN THREE POSITIONS

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THE RAIL (Detail)

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THE RAIL COLOUR STUDY

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THE RAIL

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THE RAIL STUDY

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Top to bottom: CONVOY V STUDY

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I Mixed media on paper

CONVOY ‘SONG BIRD’ STUDY

I 2002

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CONVOY III STUDY

I 2002

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CONVOY III STUDY

I 2002

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CONVOY ‘PINK TUTU’ COLOUR STUDY

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CONVOY ‘HELP’ COLOUR STUDY

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CONVOY COLOUR STUDY

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CONVOY ‘BLACKBIRD’ STUDY

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CONVOY ‘HELP’ (Detail)

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Nowhere can man find a quieter or more untroubled retreat than in his own soul.  ~ MARCUS AURELIUS

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HEAD I (Detail)

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HEAD I

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HEAD II

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HEAD V

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HEAD IV

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DANAE (Detail)

DANAE

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A BRIGHT RED KIMONO (Detail)

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A BRIGHT RED KIMONO

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CHASTITY

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131

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DANAE II

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THREE NUDES

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INSIDE THE QUIET

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THE EBONY TOWER II

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ARCHED BACK IN RED

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NIGHT’S BLIND

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WHITE LINEN AND MORNING LIGHT

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WHITE LINEN AND MORNING LIGHT (Detail)

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WHITE LINEN (Detail)

WHITE LINEN

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THE PEARL COLOUR STUDY

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PEARL AND SHADOW

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QUIET SPACE II

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QUIET SPACE

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QUIET SPACE III (Detail)

QUIET SPACE III

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THE HOSTESS (Detail)

THE HOSTESS (Detail)

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REFLECTION / FRAILTY

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ET LUX PERPETUA LUCEAT EIS

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LATE SEPTEMBER

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WARRIOR II

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154

LACRIMOSA

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LUCY

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LIST OF WORKS p10. FLAMENCO GOLD - 1998 - Oil and mixed media on canvas - Limited edition print (G653) 195 copies (Sold Out) - see also p13 p12. STUDY FOR FLAMENCO GOLD - 1998 - Charcoal on paper - Limited edition print, Japan (GJ001) 185 copies p14. COLOUR STUDY FOR FLAMENCO GOLD - 1998 - Mixed media on paper - Limited edition print (G663) 195 copies p16. LEYENDA - 1998 - Oil and mixed media on canvas - Limited edition print (G674) 195 copies (see also p18) p18. ARCHED BACK - 1998 - Oil and mixed media on canvas p19. STUDY FOR LEYENDA - 1998 - Mixed media on paper p20. ARCHED BACK - STUDY - 1997 - Charcoal on paper - Limited edition print (G665) 195 copies (Sold Out) p21. ARCHED BACK - COLOUR STUDY - 1998 - Oil and mixed media on canvas - Limited edition print (G662) 195 copies p22. YELLOW DRESS COLOUR STUDY - 2003 - Mixed media on paper - Limited edition print (G689) 195 copies p24. WITH HANDS HELD HIGH - COLOUR STUDY - 2000 - Mixed media on paper - Limited edition print (G652) 195 copies (Sold Out) p25. WITH HANDS HELD HIGH - 2000 - Oil and mixed media on canvas - Limited edition print (G673) 195 copies (Sold Out) p26. DANCING DRESS - 2003 - Oil and mixed media on canvas - Limited edition Silk Screen (GS101) 195 copies p27. STUDY FOR DANCING DRESS - 2003 - Charcoal on paper p29. DANCING DRESS COLOUR STUDY II - 2003 - Mixed media on paper Limited edition print (G685) 195 copies p30. WHITE ON BLACK COLOUR STUDY - 2003 - Mixed media on paper - Limited edition print (G684) 195 copies p33. WHITE ON BLACK - 2003 - Oil and mixed media on canvas - Limited edition Silk Screen (GS100) 195 copies (Sold Out) p34. WHITE ON BLACK STUDY - 2003 - Charcoal on paper Limited edition print (G681) 195 copies p35. WHITE ON BLACK COLOUR STUDY - 2003 - Mixed media on paper Limited edition print (G684) 195 copies p36. MAGENTA - 2004 - Oil and mixed media on canvas - Limited edition print (G691) 195 standard copies (G691L) 100 hand embellished copies p37. COLOUR STUDY FOR MAGENTA - 2004 - Mixed media on paper p38. STUDY FOR SARA BARAS II - 2002 - Mixed media on paper p39. COLOUR STUDY FOR SARA BARAS II - 2002 - Mixed media on paper - Limited edition print, Japan (GJ002) 185 copies p40. THE SORCERESSES - 2001 - Oil and mixed media on canvas - Limited edition print (G675) 195 copies (Sold Out) p41. THE SORCERESSES COLOUR STUDY - 2000 - Mixed media on paper - Limited edition print (G655) 195 copies (Sold Out) p43. THE SORCERESSES STUDY - 2000 - Charcoal on paper - Limited edition print (G651) 195 copies (Sold Out) p46. STUDY FOR NACIENTE II - 1997 - Charcoal on paper - Limited edition print (G672) 195 copies p47. COLOUR STUDY FOR NACIENTE II - 1998 - Mixed media on paper - Limited edition print, Japan (GJ003) 185 copies p47. NACIENTE II - 1998 - Oil and mixed media on canvas - Limited edition print (G661) 195 copies (Sold Out) p48. COLOUR STUDY FOR THREE BILLOWING DRESSES - 2001 - Mixed media on paper - Limited edition print (G664) 195 copies p50. COLOUR STUDY FOR HIDDEN FACES - 2004 - Mixed media on paper Limited edition print, Japan (GJ004) 185 copies p51. HIDDEN FACES - 2004 - Oil and mixed media on board - Limited edition print (G693) 195 standard copies (G693L) 100 hand embellished copies p54. COLOUR STUDY FOR BAILADORA Y CABALLO - 2002 - Mixed media on paper - Limited edition print (G676) 195 copies p55. BAILADORA Y CABALLO - 2002 - Oil and mixed media on canvas - Limited edition print (G667) 195 standard copies (G667L) 100 hand embellished copies p58. TRES BAILADORAS EN ROJA - 2003 - Oil and mixed media on canvas - Limited edition print (G682) 195 standard copies (G682L) 100 hand embellished copies p59. THE DARK TURN COLOUR STUDY - 1998 - Mixed media on paper p59. THE DARK TURN STUDY - 1998 - Charcoal on paper p60. FLAMENCO IV - 1997 - Oil and mixed media on canvas p61. FLOWING DRESS - 1998 - Oil and mixed media on canvas p62. STUDY FOR THE WHITE SHAWL - 1999 - Mixed media on paper p62. THE WHITE SHAWL III - 1999 - Mixed media on canvas

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p63. COLOUR STUDY FOR ANSIAN - 2000 - Oil and mixed media on paper - Limited edition print (G654) 195 copies p64. THE TEMPTRESSES - 2002 - Oil and mixed media on canvas - Limited edition print (G668) 195 standard copies (G668L) 100 hand embellished copies p65. THE TEMPTRESSES COLOUR STUDY - 2002 - Mixed media on paper p65. THE TEMPTRESSES COLOUR STUDY - 2002 - Mixed media on paper - Limited edition print (G670) 195 copies (Sold Out) p68. COLOUR STUDY FOR PASION - 1999 - Mixed media on paper - Limited edition print, Japan (GJ005) 185 copies p70. STUDY FOR PASION - 1999 - Charcoal on paper p71. DANCING HANDS - 2004 - Oil and mixed media on board - Limited edition print (G695) 195 standard copies (G695L) 100 hand embellished copies p72. IRRADIAN - 1999 - Oil and mixed media on canvas p73. BAILARINA EN NEGRO STUDY - 2002 - Charcoal on paper - Limited edition print (G680) 195 copies p74. COLOUR STUDY FOR SARA BARAS 2002 - Mixed media on paper p75. SARA BARAS 2002 - Oil and mixed media on board p75. SARA BARAS 2002 - Charcoal on paper p76. STUDY FOR BLACK ON BLACK - 2003 - Mixed media on paper p77. BLACK ON BLACK - 2003 - Oil and mixed media on board - Limited edition print (G683) 195 copies (Sold Out) p78. FLAMENCO DANCER IN RED - 1994 - Oil and mixed media on canvas - Limited edition print, Japan (GJ006) 185 copies p79. LILAC STUDY - 2004 - Charcoal on paper p80. LILAC - 2004 - Oil and mixed media on canvas - Limited edition print (G697) 195 copies p82. SCARLET - 2004 - Oil and mixed media on board - Limited edition print (G694) 195 standard copies (G694L) 100 hand embellished copies p83. DE LAS SOMBRES - 2004 - Oil and mixed media on board - Limited edition print (G710) 195 standard copies (G710L) 100 large prints p84. ANNA - 2004 - Mixed media on paper p85. ANNA - 2004 - Charcoal on paper p86. EL FUEGO II COLOUR STUDY - 2004 - Mixed media on paper p87. EL FUEGO - 2004 - Oil and mixed media on board - Limited edition print, Japan (G710) 295 copies (see also p89) p88. EL FUEGO COLOUR STUDY - 2004 - Mixed media on paper p90. STUDY FOR JOAQUIN CORTÉS IV - 1997 - Charcoal on paper p90. STUDY FOR JOAQUIN CORTÉS - 1997 - Charcoal on paper p90. STUDY FOR THE SPIN - 1997 - Charcoal on paper p91. JOAQUIN CORTÉS - 1997 - Oil and mixed media on canvas - Limited edition print (G656) 195 copies p92. OSCURA LUZ - 1997 - Charcoal on paper - Limited edition print (G666) 195 copies (Sold Out) p93. OSCURA LUZ - 1997 - Mixed media on paper p95. NEON - 2004 - Oil and mixed media on board - Limited edition print (G692) 195 copies (see also p97) p96. NEON COLOUR STUDY - 2004 - Mixed media on paper - Limited edition print (G690) 195 copies p96. NEON STUDY - 2004 - Charcoal on paper p98. TWENTY ONE - 2004 - Oil and mixed media on board p99. STUDY FOR TWENTY ONE - 2004 - Charcoal on paper p99. TWENTY ONE IN BLACK - 2004 - Oil and mixed media on canvas p100. TWENTY ONE III - STUDY - 2004 - Charcoal on paper p101. TWENTY ONE III - COLOUR STUDY - 2004 - Mixed media on paper p102. STEPS COLOUR STUDY - 2004 - Mixed media on paper p103. STEPS - 2004 - Oil and mixed media on canvas - Limited edition print (G698) 195 copies p104. BLUE SHADOWS - 2004 - Oil and mixed media on board - Limited edition print (G696) 195 standard copies (G696L) 100 hand embellished copies

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p105. BLUE SHADOWS COLOUR STUDY - 2004 - Mixed media on paper p106. DANCER IN THREE POSITIONS - 2004 - Oil and mixed media on canvas - Limited edition print (G686) 195 copies p107. STUDY FOR DANCER IN THREE POSITIONS - 2003 - Charcoal on paper p108. THE RAIL - 2004 - Oil and mixed media on board - Limited edition print for limited edition book (G712) 350 copies (see also p112) p110. THE RAIL COLOUR STUDY - 2004 - Mixed media on paper p113. THE RAIL STUDY - 2004 - Charcoal on paper p114. CONVOY I STUDY - 2002 - Charcoal on paper p114. CONVOY I STUDY - 2002 - Charcoal on paper p114. CONVOY ‘SONG BIRD’ STUDY - 2002 - Charcoal on paper p114. CONVOY V STUDY - 2002 - Mixed media on paper p115. CONVOY ‘PINK TUTU’ COLOUR STUDY - 2002 - Mixed media on paper p116. CONVOY ‘HELP’ COLOUR STUDY - 2003 - Mixed media on paper p117. CONVOY ‘BLACKBIRD’ STUDY - 2003 - Charcoal on paper - Limited edition print, Japan (GJ007) 185 copies p117. CONVOY COLOUR STUDY - 2003 - Mixed media on paper p121. HEAD I - 2001 - Mixed media on paper (see also p122) p122. HEAD III - 2001 - Mixed media on paper p122. HEAD IV - 2001 - Mixed media on paper p122. HEAD V - 2001 - Mixed media on paper p124. DANAE - 1999 - Oil and mixed media on canvas - Limited edition print (G657) 195 copies p126. A BRIGHT RED KIMONO - 1999 - Oil and mixed media on canvas - Limited edition print (G677) 195 copies (see also p128) p128. CHASTITY - 1999 - Oil and mixed media on canvas - - Limited edition print, Japan (GJ008) 185 copies p130. DANAE - 1999 - Oil and mixed media on canvas p131. THREE NUDES - 1999 - Oil and mixed media on canvas p132. INSIDE THE QUIET - 1999 - Oil and mixed media on canvas p133. THE EBONY TOWER - 1999 - Oil and mixed media on canvas p134. ARCHED BACK IN RED - 1999 - Oil and mixed media on canvas p135. NIGHT’S BLIND - 1999 - Oil and mixed media on canvas p136. WHITE LINEN AND MORNING LIGHT - 2001 - Oil and mixed media on canvas p138. WHITE LINEN - 2001 - Oil and mixed media on canvas - Limited edition print (G660) 195 copies p140. THE PEARL - 2001 - Mixed media on paper p141. PEARL AND SHADOW - 2001 - Oil and mixed media on canvas p142. QUIET SPACE II - 1999 - Oil and mixed media on canvas p143. QUIET SPACE - 1999 - Oil and mixed media on canvas - Limited edition print (G658) 195 copies p144. QUIET SPACE III - 1999 - Oil and mixed media on canvas p146. THE HOSTESS (Detail) - 1999 - Oil and mixed media on canvas - Limited edition print (G659) 195 copies p148. REFLECTION / FRAILTY - 1999 - Oil and mixed media on canvas p149. ET LUX PERPETUA LUCEAT EIS - 1999 - Oil and mixed media on canvas p150. LATE SEPTEMBER - 2000 - Oil and mixed media on canvas p151. WARRIOR I - 1999 - Oil and mixed media on board p151. LACRIMOSA - 1999 - Oil and mixed media on canvas p151. LUCY - 1999 - Oil and mixed media on canvas

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SOLO EXHIBITIONS 1992

‘In Motion‘ - a study of the human body in motion - London

2000

‘Quiet Space’ - The China Club, Hong Kong ‘Flamenco I‘ - Tokyu, Shibuya, Tokyo

158

2002

‘Flamenco II’ - Matsyuya, Ginza, Tokyo

2004

‘Flamenco III’ - Daimaru, Kyoto

2005

‘Passion - Studies in Dance’ - Cork Street, London

159