Friday, 15 September 2017

Friday, 8 September 2017

Dolls House World Magazine

Thank you to Dolls House World for sending me a complimentary copy of their magazine.  

It's full of great tips for working on miniatures, with tutorials and recommendations, and a comprehensive guide to shops and upcoming 'miniaturist' fairs, mostly UK-based, but also covering Europe and further afield. 

Tuesday, 29 August 2017

Re-creation for the Nation

One of my best friends 'Mel' (on the left), who made the gorgeous garments from my 'Wild Flowers' Liberty print fabric for our daughters (below) has just opened an online shop on selling her collection of men's and women's scarves created from recycled wools and fabrics.
Mel has worked incredibly hard over the last few months, getting ready to open her online shop. 
Check out her homepage at
 or find her on instagram re_creation4thenation

Men's Infinity Scarf
Women's Infinity Scarf by Re-creation 4 the Nation

Monday, 21 August 2017

New Prints Available

 New Series of Signed Prints for 2017
The House in the Oak Tree
The Stork Wife
Reaching for the Sky
The Girl in the Wood 

Link to my shop

Saturday, 29 July 2017

Tuesday, 25 July 2017

Cover Art work for Russian Edition of A J Fikry

I quite like the simplicity of the Russian cover (above)
compared to the UK Edition (below)
and the Taiwanese Edition, published in 2014.
Artwork by Su Blackwell 

Saturday, 22 July 2017

Fresh Flowers from Bloomon UK

Every bouquet is different depending on the growing season.
 July's bouquet consists of lilies, rose and thistles.
June's bouquet included wild rose, alliums, peonies and hollyhocks. 

Flowers from 

Thursday, 13 July 2017

An opportunity for Artists living and working in the UK

I applied to AA2A back in 2008, after graduating from college a few years earlier. 
It was an invaluable experience for me, as I was able to take advantage of the equipment on offer at my local University to further develop my work. 
I also had a chance to exhibit a small collection of my work after the placement in front of an appreciative, and enthusiastic audience. 
For details, and to apply, visit their website

Wednesday, 12 July 2017

Workshops at Charleston House

Here are some photos from the workshop I ran at Charleston House yesterday, and the end results.

Each participant designed and made a paper rose, using the techniques that I shared with them. 

If you're interested in booking a place on my next workshop, go to
or email 

Saturday, 8 July 2017

Dwelling Exhibition Catalogue Available

A beautiful catalogue documenting 'Dwelling', the 2015 exhibition at Pola, Tokyo and Long & Ryle, London.
15 x 15 cm 
24 pages in full colour
Available from online store

Thursday, 6 July 2017

Dates of Upcoming Workshops in Lewes and London

For anyone interested in attending one of my paper cutting/paper sculpting workshops
I'm scheduled to be running More Workshops at Charleston House in Lewes on
Monday 23rd October and Saturday 1st December 2017

Further Workshops are scheduled for March, June and October 2018. 
Exact dates to be confirmed.

I'll also be running a Christmas Workshop in Highgate, North London
on Saturday 16th December

For further information and to buy tickets,
go to the Host's websites at the links below.

Charleston House Workshops
London Workshop

Wednesday, 5 July 2017

'The Twelve Dancing Princesses' Notebooks

These A6 lined notebooks and laser-cut greeting cards featuring 
The Twelve Dancing Princesses are back in stock in my online shop.

Sunday, 2 July 2017

If you're just starting out in paper-cutting, here is useful tip when using Swann Morten blades

Taken from Swann-Morten website                                                
Safe Handling of Swann-Morton Products
The way in which a surgical blade is handled prior to use can determine how effectively 
it performs during use. There are a number of ways that the cutting edge of a blade can 
become damaged once removed from its protective foil packet:
: When removing a blade from the protective packet make sure it is not dropped
into a metal bowl or container as this can reduce the initial keenness of the cutting edge 
even before it is fitted to the handle

:If you have to use forceps or needle holders to remove the blade from its protective packet 
ensure that you do not grip the blade across the cutting edge.

To Attach A Surgical Blade:

Use the following procedure to attach a surgical blade:
  1. Grip blade with forceps, or similar, avoiding contact with cutting edge.
  2. Hold handle in left hand with bayonet fitting uppermost.
  3. Place blade partway over handle fitting and engage slots.
  4. Slide blade until it clicks into position.
  5. To improve assembly, flex blade slightly upwards when sliding onto the handle.

To Remove A Surgical Blade:

Use the following procedure to detach a surgical blade:

1: Grip blade with forceps or needle holders at point A
making sure that the cutting edge is facing away from hand and body.
2: Ensure the blade is pointing downwards and towards the trolley and 
NOT towards another member of your team.
3: Whilst holding the handle firmly lift the back edge of the blade with the forceps or 
needle holders and slide away the handle.
4: The preferred method would be a Swann-Morton blade remover device.

Still Showing, Until 19th November 2017 - 'Plumlines' Installation at Croome Court, Worcester

Thursday, 8 June 2017


At this time of year, I'm often asked about myself and my work by students working on their upcoming art thesis or project. I'd like to take the opportunity here, to answer some of the questions that arise... 

·  Please, introduce yourself and explain what you do...
Me, aged 5

   I was born in Sheffield in 1975 in a small semi-detached house. My mother was a trained nurse, my father worked as a gas technician. As a child, I spent a lot of time playing on my own, in my own make-believe World. 
     I played in the woods near to my home, and believed the trees, that I gave names to, would protect me. I made dens in trees, with made-up curtains and carpets from things that I found around home. I never felt like I fitted in at school, I felt like an outsider looking in, except I loved going to English lessons, where I was in my element writing stories, and letting my imagination run free. 
 I enjoyed doing art at school, but I didn’t like the way it was taught, it was too didactic. 
  I floated out of school, not really knowing what to do next. 
By chance, I happened upon a mixed media textiles course run at the local college, and after being accepted onto the course, I found it was something I really enjoyed, and began to feel passionate about. The course suited me, and my personality. 
I went on to study Textiles at  Bradford College, where I gained a 1st Class BA Hons, and then a year later, went on to study for an MA in Mixed-Media Textiles at the Royal College of Art in London. 
Since leaving the RCA, I worked for 3 years as an artist-in-residence in schools around Scotland. 
 I started to get my own work seen in some Shows in London, and as my work began to get more well-known, I was travelling to London frequently for meetings with clients, so I decided to move back to London where I lived and worked for 10 years.

·         For how long have you been working with your paper technique? How did it first start? 
I started this technique after graduating from the RCA in 2003. It started after a trip to Thailand
where I bought a beautiful second-hand book on the Kao San Road. My father had passed away 
when I'd just started studying at the RCA, and I was thinking about life, death, and the 'in-between'. 
My first book-sculpture was ‘The Quiet American’. I cut moths from the book with a craft-knife. The piece was inspired by a Chinese legend a friend told me about, about two lovers whose souls re-emerge from burnt ashes in the shape of two Moths. One of the reasons I began working with paper as a medium was because of its connection to spiritual rituals that I encountered in South East Asia, and this in turn has led me to work with paper in books, and fairy tales.

The Quiet American, 2003

·         Although yours is such a personal work, whose has inspired or influenced you? 
Artist’s who have influenced me are Ann Hamilton, Annette Messenger, Joseph Cornell  and Jonathan Callan. Jonathan Callan’s 2003 Show titled 'Inteferance' at The New Art Gallery in Walsall was especially influential. 
I’m also inspired by 19th Century Illustrators such as Arthur Rackham and Alice B. Woodward.
Evolution by Jonathan Callan

·         Whose work, besides influences, do you fully admire?  
I love everything Kiki Smith does, also, Christian Boltanski. Mariele Nuedeker, Andrea Deszo 
and Paula Rego. I like that these artists work in such a varied way, with a menagerie of materials.

·     What makes the difference in-between your personal work and those works 
that are commissioned? What remains the same in the process? 
I see it as two different things. In commissioned work, I'm often following somebody else’s brief.  
I find making my personal work more challenging, but in a different way to the challenge I face when working on commissions. When I'm working to my own brief; sometimes that is more difficult, as I feel that I'm putting 'myself' out there, and so there is more at stake.  

·         What are your hobbies and interests? Are they somehow visible though your work? 
I love reading, walking (particularly in woodland in spring), I enjoy nature, bird-watching, and I like visiting museums, art-galleries, theatre, ballet and film

·   How do you feel the official world of art has accepted or taken into account your work?
I feel my work sits on the precipitous edge of art and craft, 
and that it crosses over many disciplines. 
 My work has been embraced by design, illustration, fashion, textiles and craft, 
but I do feel I feel a little secluded from the art world in the UK.
I find the art scene overseas in countries such as Japan and Russia are more accepting of my work. 

·  Your work is quite delicate and full of detail, about how long does it take you to prepare one piece? 
I always read the book first, at least once or twice, and then I begin to make the work, cutting out, 
adding details. The detail is what brings it all together, the magic element.  
It is a tediously slow, sometimes frustratingly slow process, one small book-sculpture 
can take approx: 4 - 6 weeks to complete

·    Do you preview the whole scenario you’re about to create or somehow go with the material flow?
I have a rough idea in my head, which I sometimes sketch down on paper, 
but I definitely let the materials lead me while I'm making. 

         What do you do for the material preservation of your work? 
How do collectors or conservateurs regularly store it and keep it? 
I sometimes treat the paper to protect it from UV damage, but also one of the reasons I began 
housing the book-sculptures inside wooden and glass boxes was to protect them.
What are the differences in-between your paper and your fabric work?
I treat the materials the same, but  paper is much more malleable to the hand, it has a visible memory.
 I find fabric is less forgiving than paper.  
I'm not tired of working with paper, in fact the more I work with it, the more fascinating it gets. 

While you were Sleeping, 2004

·   In some interview you pointed you wanted to develop large scale work, how is that going? 
I tend to correlate smaller elements to create larger scale work. I feel that by just enlarging the scale, some of the intimacy of my work is lost.

·  What are your next projects and activities? 
I'm currently working on a public commission for Chatsworth House in Derbyshire, 
which will be revealed later on in the year. 

Wednesday, 31 May 2017