Qualifications
B.A. (Hons) Fine Art, Glasgow School of Art, 1988-92

Awards and Distinctions
2011 Elected Council Member, International Association of Hand Papermakers and Paper Artists (IAPMA)
2010 Elected Council Member, Society of Scottish Artists.
2005 Scottish Arts Council, Professional Development Award
2005 The Birgit Skiold Trust award for a Residency in Japan
2004 Residency in Shetland working with the elderly.
2000-20003 President, Society of Scottish Artists
2000 Scottish Arts Council, Individual Development Award for Project, ‘Mapping Scotland: The Disposition of a Place’

Solo Exhibitions
2011 West Moss-side Environmental Centre, Stirling
2008 Galleri Kretsen, Sodertalje, Sweden
2007 West Moss-side Environment Centre, Stirling
2006 Bonhoga Touring Exhibition, Shetland Islands
2005 Chambers Institute, Peebles
2003 Exhibition Hall, Royal Botanic Garden, Edinburgh
2001 Bonhoga Gallery, Shetland

Special Projects        
2011 Selected for inclusion in publication, Magic, Power, Presence,(in collaboration with June Carey). Iris Book Arts.
2011 Selected for inclusion in e-book, Contemporary Paper and Encaustic by Catherine Nash. USA.
2011 Selector (and Participant) ‘Paper and Type-Print’ Cheongju International Craft Biennale, South Korea
2006 Invited contributor and technical advisor, Papermaking for Printmakers by Elspeth Lamb, (pub. A & C Black)

Forthcoming Projects
2012 Coordinator, Lines of Connection, Shetland Museum &
Archives, exhibiting my installation, Ghost Croft Archive alongside work by four Swedish artists.
2012-2013 Scottish co-ordinator for proposed tripartite project
involving Bulgaria, Lithuania and Scotland.

Recent Group Exhibitions
2011 Royal Glasgow Institute
2011 Royal Scottish Academy
2011 Natural Connections, Birnam Art Centre (PVAF)
2011 Gallery UkaMa, Spain, selected
2011 Tuebingen Botanic Garden, Germany
2011 Cheongu, Int. Craft Biennale, S. Korea, selected
2011 Sofia, Bulgaria, Biennial, Paper Art Fest, invited
2011 Amateras, International Mini Paper Art, Bulgaria,
2011 Society of Scottish Artists, Edinburgh
2011 ‘In Between’, Kibbutz Hazorea, Israel, selected
2010 Slovakia. Society of Scottish Artists ‘Bridges’ Project
2010 Society of Scottish Artists
2010 Royal Scottish Academy
2010 Royal Glasgow Institute
2010 South Korea, ‘Paper Road’, Wonju, selected
2010 Art Geneve, selected
2010 Amateras, Paper Art, Sofia, Bulgaria, selected
2010 Paper the Future, Chaine de Papier, France, selected
2010 Society of Scottish Artists
2009 Royal Scottish Academy
2009 ‘Place, Identity & Memory’, Iris Book Arts, Gracefield, Dumfries, Scotland, touring. Selected.
2009 Korea SHU-MOK-JI, Paper Culture Foundation Seoul, selected
2009 Octon Book Arts, Octon, France
2009 Como Pez En El Agua, Gallery UKaMa, Spain
2008 Musee de Charmey, Triennale Internationale du Papier, (selected)
2007 Beldam Gallery, Brunel University, exhibition of selected European and Korean artists
2006 ‘Blue Hall’ Atelierhaus Panzerhalle, Brandenburg
2005 Kunsthalle Arnstadt, Thuringen, Germany (selected)

Education Work
In addition to providing workshops alongside my exhibitions, I have undertaken very many educational workshops in papermaking and related activities for museums, galleries and universities from primary through to tertiary levels. I also work with many charities, particularly environmental charities who are interested in the strong environmental aspects of my work and the magical ability of the papermaking process, from plucking a plant to producing a finished sheet of paper, to open people’s eyes to the wonder of the plant world and to the vital importance of plants to our lives. I very much enjoy this interaction with members of the public.

In the last few years I have worked with organisations such as Glasgow Print Studio on major outreach projects and also, frequently, with the Hunterian Museum and Art Gallery where I have been lead artist on a number of recent major projects involving both outreach and in-gallery work, commissioned by Head of Education, Monica Callaghan.  These projects have targeted both mainstream participants and those with special needs and were often designed around major exhibitions such as the recent one devoted to Edvard Munch, where adults were introduced to drypoint printmaking, among other techniques, working in the same gallery where Munch’s prints were displayed. As part of the ‘Touching Lives’ project, I worked together with visually impaired youngsters to try and improve and enrich the experience the visually impaired would have when visiting both the Art Gallery and the Museum. It is hoped that this project may have beneficial long-term results.

It was Artlink Central in the 1990s, through then co-ordinator, Sarah Chester, which first employed me to give workshops and where I learned ‘on the job’.  It was a good grounding for the subsequent years of work in this field.

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