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 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 Apart from a ‘paint by numbers’ when I was 10, the painting done in 2004 was my first attempt at oil painting. I did this on a course at ‘White House Arts’ in Cambridge. This was where I started to realise that this was a part of me that I had ignored for many years and now needed to be out in every sense of the word. The rest of the images on this page are things done on Foundation in Cambridge and First Year Certificate in Cyprus. They are ideas I will probably return to in the future.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
 but is it still something that I need to continue to work with. Picasso’s Les Demoiselles de Avignon is an influence on this, in the way the figures inter relate on the canvas. I have recently started to look at one figure in isolation, as well as the relationship between several figures. These are sketches and studies of the female form. I try to work both in the abstract and in a more traditional way.')){kind=small}
. While there I did some paintings and drawings of the olive tree in the garden. I keep looking on the banks of the Cam for a willow to replace the olive tree. I have found a plantation of trees that is proving interesting...')){kind=small}
. While there I did some paintings and drawings of the olive tree in the garden. I keep looking on the banks of the Cam for a willow to replace the olive tree. I have found a plantation of trees that is proving interesting...')){kind=small}
. While there I did some paintings and drawings of the olive tree in the garden. I keep looking on the banks of the Cam for a willow to replace the olive tree. I have found a plantation of trees that is proving interesting...')){kind=small}
. While there I did some paintings and drawings of the olive tree in the garden. I keep looking on the banks of the Cam for a willow to replace the olive tree. I have found a plantation of trees that is proving interesting...')){kind=small}
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