My interests, in the ’60s, were with hunting for totally abstract shapes as ENCLOSURES, where the boundary of these enclosed positive shapes can be thought of as a negative CONTINUOUS LINE. In the search for these shapes I found etching useful, as resists (in the printing sense) could define a negative enclosure; therefore black and white etchings were often starting points for paintings.
Compositionally, I found the square canvas a very interesting shape to work within; the pictures could revolve, as a sculpture can revolve, because there would be no right orientation, and its four CORNERS required four different solutions.

The title, CONTINUOUS LINE, CORNERS AND ENCLOSURES, omits to mention one thing: a preoccupation with MINIMAL COLOUR.

In the late sixties the Artist Jenny Cowern and I built a studio together which is covered by Mary E Burkett and Valerie M Rickerby’s book “A Softer Landscape” ISBN978-0-9528356-7-7.

Illustrated opposite are three oil paintings on canvas 1.37m x 1.37m.


During the 1970s I produced a large exhibition of work entitled “Non Visual Pattern”, shown at Tullie House and Queen Mary’s College London. The content was more conceptual than minimal and therefore I have included nothing from this period apart from the etching “Circles” (no. 42) which has accompanying photographic sources.

For a brief period in the mid 1970s I studied chemistry with the Open University. This was of particular importance to me as it opened up an interest in experimenting with chemicals/materials which crossed the boundaries between conventional areas of printmaking.

During this decade I was also greatly helped by R T Cowern RA with many of the aspects of the chemistry of etching and print finishing which had been sadly missing from all the previous guidance.

Illustrated opposite is an oil painting 1.22m x 1.83m.


In the early 1980s wanting to make multiples of my work, I stumbled on relief printing; first Lino etching/erosion, and then a decade later, Wood engraving. I found myself continuing with the preoccupations of the 1960s but with one overwhelming consistency of interest running through all the work, a desire to remove tone (black and white) from colour relationships so that the full chromatic (red-blue-yellow) value can be seen.

RH. 1999.

Illustrated opposite is a reduction lino print 63cm x 92cm.