I am a painter who also happens to make small batches of non precious contemporary jewellery using papier-mache, resin, acrylic inks, metal leaf and foils - also found objects that I make moulds from and cast with paper pulp and so on.

I live and work in the West of England on the edge of Dartmoor in South Devon.

My story began when I had a dream one night that I was showing a portfolio of my paintings to a gallery owner, a woman who, as she looked at my work, said to me "Have you ever thought about cutting some of these paintings up and making them into brooches? You really should, they would be stunning" No, it had never crossed my mind. I actually thought that it was a rather silly idea.

The next morning, however, I set about the task and made a collection of pieces that when finished - brooches only at that time and of course epoxy resin had not yet arrived on the market - I used yacht varnish - 36 coats - each coat took 24 hours to dry. But they looked incredible and I sent off to the Guggenheim Museum Shop in New York and a selection to Liberty in London. They loved them and sold out in the first month. They also sent me £3000 - 37 years ago that was rather a lot. I reviewed how I saw that dream after that.

Everything about my jewellery was and still is completely original and I have been very busy selling my work through galleries and shops ever since.

My output is naturally limited as I make my own pieces and I still make a range of jewellery in the way of the dream of course, as brooches, pendants and earrings.

I see beauty in the discarded object, in reflected light and eroded surfaces but most of all in shifting combinations of colour.

I use all sorts of paints and mark making tools, papers, foils etc. Painting on top of silver foil with transparent ink and adding swirls of subtle iridescence brings an ethereal magic, especially when put next to impasto matt paint for example. Sepia ink and gilders pastes add yet another dimension. There are many combinations.

I love to be in my studio early in the morning in time for the dawn chorus in spring and summer or with the rain beating against the windows in autumn and winter. My time in the studio is quiet time after time spent travelling in search of inspiration. There is a completion of the circle, something I planned for when my children flew the nest. I have plenty of inspiration around the area where I live but I do especially love Paris, Venice, the South of France and Capri, places I never tire of exploring and of delving into the history of.

My work is collected and treasured. I am blessed in so many ways.