room, beautiful oriel windows, and acres and acres of grounds. My father would tell me all these stories about his childhood. My dad’s a tremendously romantic figure, and it mademe very aware of there being more to somewhere than just bricks andmortar. It really captured my imagination from a very early age. But alsomy parents restored an


18th-century farmhouse when I was about five years old. It was in the middle of the Yorkshire Dales and they


bought it as a ruin. That too had its impact on me.


You mentioned that post-war British artists such as John Piper have been inspirational.Where else do your artistic influences lie? My work has always been around architecture andmy responses to architecture, but, at art school, video installation was the way I was encouraged to work. Then I took a couple of years off, and when I started


to work again it was to a complete return to painting and drawing. Gradually, I realised there were other current artists who were interested in similar ideas were working in similar ways, as printmakers, illustrators and designers. Suddenly I found myself surrounded


by like-minded people who really inspired me – such asMark Hearld, Michael Kirkman, Emily Sutton, Jonny Hannah and Angie Lewin. All seemed to be coming fromthe same point as I


do in my work,which is an interest in folklore, in social historical narratives, but all are also picking up the baton from a lot of the post-war British artists and designers. We began working together, a great feeling of solidarity. That’s had a huge impact on me. The other key artists who have


inspiredme and informed my visual language and how to construct an image are the printmakers Samuel and Nathaniel Buck, who were working in the early 18th century. They produced


Cornerstone, Vol 32, No 3 2011 83


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