"One Sunday lunch-time when I was 9 years old, my mother asked my uncle, William Scott, how long he was going to paint abstract for. After lunch I went upstairs to my oil paints in the attic to see if I could paint an abstract, and discovered I couldn’t. Ever since then I have been concerned with the formalities of picture making – balance, line, colour, tone, space, proportion and so on.
I believe artists should keep their eyes open and their mouths shut; they do, after all, work with images not words. However, if pressed, I can say that much of my work has been about parallel lives: the juxtaposition between man’s isolation from man and from creation on the one hand, and a yearning for some sort of convergence on the other.
I started drawing when I was 18 months old - tight, controlled little spirals - and have been drawing and painting ever since. I started painting full time in 1973 and developed a very time-consuming style, which had to change dramatically in 1985 when my son was born. I have always been an abstract painter, but started doing some figurative work for light relief when my husband became terminally ill in 2000 and died in 2001. Hence the happy dogs. Now I continue to paint figuratively when the subject demands no ambiguity.
Amongst the many painters who have influenced me, the following are probably the most important: Barnet Newman, Duccio, Piero della Francesca, Ben Nicholson, William Scott, John Craxton."