I am a Catholic artist and I live in London with my husband David.

My art illustrates stories of the Saints or Biblical scenes.

I am passionate about using the same traditional methods and materials that monks and masters have used in monasteries for centuries. I work primarily in egg tempera and traditional oil paint, on gesso boards or on canvas.

I paint with natural pigments derived from rocks, plants or insects and I often make my own pigments from rocks, by washing and grinding them in a pestle and mortar. I like to make my own gesso boards. These processes enable me to engage more deeply by becoming aware of the ways the material world can be used for the glory of God.

I like re-creating manuscript illuminations from the Book of Kells and Lindisfarne Gospels. I find I am able to connect to eternal truth and wisdom by observing geometric forms in Celtic and Anglo-Saxon patterns. I enjoy working with gold leaf and using traditional tools.

I strongly support the revival of traditional arts and crafts within the Church. I am interested in the expression of truth and beauty. The beauty that lies within the traditional arts and crafts of the Church conveys an eternal wisdom and knowledge. By uniting ourselves to that wealth of tradition, craft practice and skill, we feel a confidence in our values and Christian heritage.

I provide a Vestment Consultancy Service to support parishes wishing to make repairs to their vestments. I help groups of volunteers within a parish to:

  • Understand the history, style and origin of their vestments,

  • Advice on how to go about making repairs,

  • Guidance on suppliers of liturgical fabrics (linen, silk, cotton, inter-lining, braids, trim, etc.)

  • Demonstrations of technical hand embroidery, individually or to a small group,

  • Advice on the difference between restoration and conservation.

I also run classes for children and families in needlecraft. I like to create craft activities that follow the liturgical season. This combines catechism with being able to pass on skills by hand from person to person in a caring and supportive way.

David provides loving support and artistic direction.

 
 

The Industrial Revolution had a disastrous effect on art. The focus was on production, leaving the inner journey of little or no significance. The introduction of mass manufactured materials, artificial pigments and acrylics meant a reduced palate and real knowledge about colour theory and its spiritual significance was side-lined.

I make my own oil paints by grinding the pigments with a muller on a stone slab and by then mixing with oil, either linseed, walnut or poppy, depending on the nature of the pigment. I employ the same methods that were used by the masters of traditional painting for centuries. I have studied traditional gilding techniques and my studio is well equipped with traditional tools (such as a gilder’s knife, a gilder’s cushion and agate burnishers), which have been used for centuries. I like to incorporate genuine gold leaf (24 carat) into my icons for the halos or background, not only for embellishment but to draw the viewer’s focus towards things of heaven.

I often use a method of creating an under painting either in “verdaccio” or an earth pigment, and built up over several layers, creating a tonal painting of darks and lights before applying the colours. I find it is in the building up of layers that creates a luminous effect and this can still be appreciated now when admiring work of the old masters. 

My classes for children and adults are about creating a generation of people equipped with skills in order to create a living tradition in England here and now and for future generations. I help students learn traditional crafts in an organic way, centred on community bonds and sharing stories, similar to the way these skills were passed on in generations past.

The spiritual journey is central to my work. What is being expressed outwardly comes from what is happening inwardly. I pray as I work, and employ the philosophy “ora et labora” which has it’s roots in Benedictine monastic practice. In this way, my work takes me deeper in my journey of faith.

Ultimately, it is the Incarnation (God incarnated into human flesh) that gives me the permission to paint the holy image of Christ. I believe what I do is Sacred Art because I as the artist have a genuine relationship with the subject matter.

Art Studies & Creative Experiences

  • The King’s Foundation, School of Traditional Arts (formerly the Prince’s School of Traditional Arts):

I have a Certifcate in the Traditional Arts from the PSTA (2018).

In addition, on the Open Programme I have complete the following courses:

The Contemplative Art of Celtic and Anglo-Saxon Manuscript Illumination, Renaissance Painting: The Traditional Art of Egg Tempera and Gilding, Introduction to Byzantine Icon Painting, Ornamental Woodcarving, Russo-Byzantine Icon Painting, Oil Painting: Methods and Materials, Dutch Still Life, The Flemish Technique, Geometric Tiles, Kashan Tiles, Venetian Painting Techniques, Size Tempera, Painting a Head: Piero della Francesca, Persian Miniatures: Flowers and Trees, The Gothic Roses of Strasburg Cathedral, Dyeing with Natural Pigments, Stained Glass, Celtic Pattern and Geometry, Construct and walk a Labrynth, Making a Ceramic Screen, Medieval Manuscript Illumination I, Pictish Patterns, Painting from the Imagination and Nature in Oils, The Alchemy of Colour: Lapis Lazuli, Manuscript Illumination: Raised Gilding, Taster: Make a Flat Woven Carpet, Introduction to Carpet Weaving, Geometry and Clay: Exploring 3D form in ceramics, Paint an Archangel in the Medieval Style, Cold Wax Painting: The Fayum Portraits, Medieval Manuscript Illumination Part II, The Hands of Holbein: Drawing in Metalpoint, chalk and ink, Paint Mother Mary in the style of Andrei Rublev, Stained Glass: Flowers in Lead and Light & Introduction to Marquetry: Geometric Designs in Wood Veneer.

  • Royal School of Needlework (RSN):

I have a Certificate and Diploma in Technical Hand Embroidery (2018, 2020), completed at Hampton Court Palace.

The Certificate modules I completed were: Jacobean Crewelwork, Canvaswork, Silkshading and Goldwork.

The Diploma modules I completed were: Goldwork (advanced), Appliqué, Blackwork, Whitework (Pulled & drawn thread), Whitework (Broderie Anglaise and Reichelu) and Tapestry Shading.

For Blackwork I received a Special Mention Award (2021) for achieving 93%.

  • Royal School of Needlework (RSN):

Also at the RSN I have completed courses in vestment construction; burse, stole, chasuble, cope and dalmatic making.

  • Royal Drawing School:

On the Public Programme I have taken the following courses:

Christmas Holiday: The Drawing Week (2016), Holiday 1-week Drawing at the National Gallery Course (2017), 10x week Portrait course (2017), 10x week Sculpture course (2017), 10x week William Blake course (2017), 10x week Gardens and Greenhouses course (2017), 10x week Sculpture course (Winter, 2018), 10x week Graphic Novel course (2018), Holiday 1-week Sculpture course (2018), 10 x week Sculpture course (Spring, 2018).

  • Residential Courses:

I have done 2 residential courses at an Icon painting workshop in a Monastery of the Poor Clare’s in Florence, Italy. (“Laboratorio Iconografico San Damiano, Monastero Delle Clarisse, Pistoia”).

  • Groups and Societies:

I am a member of the Society of Catholic Artists (Principal Patron - the Archbishop of Westminster), Art+Christianity and the British Association of Iconographers (BAI).

  • Exhibitions:

I have exhibited at Hampton Court Palace, Green & Stone of Chelsea and Our Lady of Dolours Church in Fulham.

The three classical artists that inspire me are: Titian, Giotto and Fra Angelico.