I was born just before the Second World War. My early years were spent playing in bomb-sites and sleeping in the air-raid shelter in the garden. Even then I was always drawing and painting. I went to Kingston Art School as a Junior Student. When my family moved to Chandler’s Ford, Hampshire, I began studying at Winchester School of Art. I remained there for four years, following courses in painting, modelling and sculpture, illustration, architectural drawing, life-drawing and portraiture. In 1954, being awarded a County Major scholarship, I was admitted to The Slade School of Fine Art, University College, London. Sir William Coldstream was Slade Professor at that time, and I had the good fortune to study under Claude Rogers, William Townsend, Lucien Freud and Henry Moore. L.S.Lowry was a visiting tutor. At that time the Course was very academic, and included Art History (under Ernst Gombrich) and Life-drawing/Anatomy. I was awarded two Slade Prizes – one for portraiture and the other for Composition. In 1957 I graduated with a Diploma in Fine Art. I became interested in Art Therapy, and worked in a large psychiatric hospital for a few years. I married in 1959 and soon lived in Malta for three years. Later we went to live in Uganda, where I lived and taught in a teachers’ training college. I also taught in two “grammar schools”, preparing pupils for Cambridge “O” and “A” level Art, which included pottery and fabric-printing. Before long, President Amin expelled the Asian shop-keepers from whom I had been obtaining my oil paint, so I became a watercolour painter, joining the R.I, in 1980. By this time we had moved to Mol, in the Kempenland, in Belgium. I was a founder-member of the Kempenland Watercolour-painters, which has subsequently become a national affair. There I painted much more, having my own annual exhibitions. I developed a technique of using the brush like a pencil, making overlapping lines – hachures – which added subtlety and depth to my landscapes. My husband and I have travelled extensively in Europe and other continents; I always return with sketches and working-drawings. The deserts and the National Parks of the American Mid-West have been an inspiration from which developed my interest in abstract painting. For these paintings I like to use the Daniel Smith (Seattle) range of colours – they seem to be stronger, deeper, than any other make. I exhibit at the annual R.I. exhibition at the Mall Galleries, and have exhibited at sundry exhibitions in Europe.