My interest in lino-printing began while I was still teaching art in a secondary school. Since retiring, I have spent a few years using this medium to explore textures, edges and contrast, mostly as part of images of natural forms, such as trees, rocks, mountains and walls. My printing press broke, through exerting too much strength(!) in tightening the screw. Straightaway, I moved on to painting in acrylics, almost as if the time was right. The same subject matter has continued to inspire me, but of course the approach and the possibilities are much more subtle and flexible. The lino-cutting process doesn't allow for any turning back, once the cutting is done. Painting can be altered, obliterated, re-stated, but the mounting anticipation experienced during the printing process towards the last stage is quite different. It's more continuously controllable with paint.
Many of the images are recognised by me during dog walks, when I may see its promise and the approach that I might take.