Q: Why did you want to paint the River Thames from Source to Sea? A: In 2001 I had a book published on the river Derwent – a beautiful river in the Peak District, and following its success I decided to tackle something larger. The mighty Thames held the greatest challenge. Q: How does the river and it’s surroundings change from the beginning to the end where it meets the sea? A: The river is enormously variable in its progress from tiny ditch to a giant of 5 miles in width at its estuary, a growth thanks to its tributaries. The first half of its progress is rural and lonely, but villages and towns grow in size and number eventually linking together in one vast London conurbation. Teddington provides a key point where the river becomes tidal. London of course, is special, where some of Britain’s most significant and important buildings (both old & new) grace the waterfront. London owes it position as England’s capital to the Thames with its great commercial history. Eventually, the ever widening river becomes quieter and nature returns again where mud flats and the foreshore provide a haven for wildlife. Q: Which part of the river is your favourite and why? A: A difficult question as there are so many. Oxfordshire and Berkshire provide some fabulous walks along the river. Pangbourne to Reading has a peaceful, rural charm, this stretch being the source of inspiration for Wind in the Willows. Ratty and Mole would have enjoyed their picnics along these back waters. Kingston to Richmond is another favourite with its rich countryside, the last wild expanse before London. Richmond itself is a joy with its mesh of history. The South Bank from Tower Bridge to Westminster fascinates me with its mixture of entertainments, galleries, bookstalls, architecture and broadwalks. Finally, Essex has much to offer me personally; Two-Tree Island and the new RSBP at Rainham are great for bird watching, the character of Old Leigh and the razzmatazz of Southend offer something totally different. Q: What artist’s materials did you use to illustrate the river? A: I have used most media including watercolours, oils, acrylics, pastels and for sketching I have used pencil, charcoal and crayon. Q: Which parts of Essex did you paint? A: Rainham, Tilbury Power Station, Coalhouse Fort at Tilbury, Canvey Island, Hadleigh, Two-Tree Island, Leigh-on-Sea, Southend and Shoeburyness. Q: How many paintings/pictures did you produce all together? A: Total items of artwork amounted to 300 of which 270 were used in the book. Q: How long did it take you altogether and how did you arrange your time to take on such a big project. A: Its is very difficult to plan the times for such projects I estimated 5 years but in practice it took 6 years. It is difficult to predict how long it takes to paint pictures but experience helps. Q: Tell us about the book that the pictures will appear in. A: The book is in paperback, slightly smaller that A4 size, and has 176 pages in full colour with 270 illustrations of the river from source to sea accompanied by an informative and enjoyable narrative. It is published by the Lutterworth Press, Cambridge and should be available from the end of November. I will have copies at the exhibition from the 19th November. Q: How do you think you captured the spirit of the Thames river in your paintings? A: The spirit of the river is imbued in its variety – its history, its place in the modern world of culture, sports, customs and commerce and in its lonely places, its tranquillity, its awesome power, its beauty and its moods. No single picture can capture all this but I have tried to do so in the wide variety of paintings. Q: Which is your favourite painting? A: Again a difficult question. Normally I have a firm favourite, often supported by my family, but this time I am not sure. The dawn view of Rotherhithe is high on the list and this has been chosen for the front cover of the book. Q: What is your next project and plans for the future? A: I would like to continue with other books but art books take up such a slice of life. I am currently illustrating a book for another author and have two possible projects up my sleeve. | 
