This is a painting of the holy "Virgin and Child", an icon in the Western tradition that had been known in ancient Egypt, and in the caves in Southern France, and Northern Spain.

This is my imagining of the Goddess Artemis, a woman with her arms raised; she is standing in a stream, bathing herself.

The red mask in at the centre, and is the focus of attention, the main draw of the image. The central figure is like a totem pole, the wavey bands of paint that move horizontally across the canvas, not unlike the crop lines that define a farmer’s field.

A representation of a bull's head, a patchwork of coloured segments forms the head, the background a field of green.

This painting shows a shaman banging his drum, the idea for the painting came from the outlines of a drawing scratched on a cave wall.

A painting of a woman, she has long wavey hair, round eyes, and a square jaw. The image is abstract and stylised, half of the face is covered in a deep yellow, the body a chequer board of green, red,; the overall appearance is that of a mask, a totem, or even a shop mannequin.

A painting emphasising the outline pattern of the figures of two people out for a walk in the moon light. The abstract quality of the image is to the fore, a strong statement that, in this instance, drawing is King.

I have always been fascinated by African masks, and a little afraid of them. It is a head without a body, the face is strangely alive and compelling.

This is another depiction of Lazarus, colourful and painterly. The face is a lemon yellow, the hair is white; he looks at us directly with a solid stare.

This is a primitive image, a figure of a man, or possibly a woman. It represents the "idea" or symbol of masculinity or femininity; a symbol of creation and giving birth.

A large painting, a red dominates, and surrounds the head which is the focus of our attention. The head painted in a light blue colour looks at us through ghostly round eyes, the face resembling more a mask than a human face.

This is a painting of a Madonna, I wanted it to be as painterly as possible, and to explore the marks I could make.

A painting inspired at my looking at rock art, the background of the painting moves like the flickering shadows inside a cave illuminated with touch light.

A woman kneels in prayer, her mind focused on the task in hand. She is serene, and silent, the air is still around her.

A painting of an Egyptian Pharaoh, a blue masked face at centre; and a skeletal figure on the right of the canvas. These are added to by a geometrical background that, in part, defines the form of the main figures. Painted in strong vibrant colours, the design of the paintings dominates and subordinates the central figures to being a part of a whole, and they cannot be discovered without accepting and visualising the whole.

Two figures dominate this painting, a man, and a woman, and on the bottom left of the canvas a smaller figure intrudes on to the scene. I wanted to emphasise the flatness and linear qualities of the design, the painting is influenced by Greek vase painting, the black images found on Greek earthenware.

This image is a painting of a clown, or a King, or a fool; and perhaps all three of these. The background is abstract, and bleeds into the figure at the centre of the painting. It is difficult to judge where the figure ends, and background begins. Painted with bold primary colours, the face with large red and green eyes looks out at the viewer, hypnotic.

A painting of a bird that is also a mask, or head dress, the body of the bird forms a face with round eyes and square mouth. The background is an abstract geometrical pattern.

This is a painting of the sacred King of Greek myth on the cross of his transformation, a movement from man to demi-god, and from earth to Elysium, the land of the gods.

A painting of a mirrored head, as looking at a reflection in a pool. The figure wears a hat with an inscription on it declaring the triumph of socialism, an ambition not yet accomplished, and that many people view as undesirable.

This is a complicated painting, a seated figure in the foreground, a smaller figure, a child sits on her lap. In the background is a figure which represents a bull. The relationships between the three figures is uncertain.

I enjoyed painting this image, I pulled out all the stops. This is an image of Janus, a two-faced spirit, a god with multiple identities. I like this painting and I enjoyed painting it; I kept pushing the paint around, changing and adding to the image until I was content with the result, and to move on.

A painting of a group of figures, highly stylised, the flatness and unreality of the group is emphasized. The faces are influenced by various African masks I have seen, truly the influence and fundamental importance of African art and design has been underestimated, and ought to be more freely acknowledged.

This painting is a Cyclops, a huge red eye at the centre, also the body forms a face, the green in the background a large mop of hair.

This image has been influence by my looking at the late paintings of Picasso, he worked in a free and "broad brush" way, the structure and texture of the paint being as important to him as the subject matter of the painting.

I wanted to paint somthing simple and direct, like a Chan watercolour. This is my attempt at making a more simplified and direct image, I wanted the blue background and the lines which draw the face to complement each other.