It was a checkered time, both frighteningly hard (setting of to Milan with a portfolio of prints to try and make some money having only enough lira for a single fare, and no idea how I would get back should I fail) and exhilarating (returning from that same trip with my pockets stuffed full of money and subsequently being invited to show in two exhibitions). I ended up living a stroboscopic life between the London bedsit and the flat in Verona, a lifestyle halted when offered a teaching post in screenprinting at the Camden Institute which I took and so settled in London.
Though screenprinting had become my obsession, I didn’t abandon painting which referenced the the ideas which were developed into prints. During this time a more obvious allusion to landscape developed (it was there all the time really in an abstruse fashion) which combined with the cryptic geometry of previous work.
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