I first saw the painted caves of Palaeolithic man in the Dordogne region of France in 1992. The power that emanated from an image of some sort of horned beast – not much more than a black blob – set me off on a radical change of artistic direction which occupied me for the next ten years with a completely untried combination of techniques. Dry pastel on rough Nepalese handmade paper and “sfumato” – painting with fire, carbon black, from the smoke of a candle, wafted on and gradually stabilised with layers of fixative and varnish.

“Beasts” went on to have many exhibitions, and expanded into a series of etchings and carborundum prints, reproductions, ceramics, carpets, murals, and finally the giant chalk cut hill figure on the Etchinghill escarpment at Folkestone.