Link here to her artist CV/Resume

Penny's work has developed over nearly a

fifty year span, from a preoccupation with the human condition in the urban environment, through to a more  soulful or spiritual significance, aside the power of our own natural world.

 

Rural and urban scapes have encompassed

her work over this period, though environment and media have changed over time. 

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As a fine art student. Penny visited New York in 1976 and was so taken by the scale of the buildings, that it became the theme of her dissertation. The slick modern materials alongside polished natural stone like marble and granite, shining reflectively off lines and grids in repeat, brought about a change in her student work from organic colourist abstracts to black and white constructions in

man-made materials.

 

Up till the start of the 1990s, she had worked in a measured way where the importance lay in the finished slick product, though this did little for her creative process and general feel good. After a break, she took collaged and assembled urban imagery and reworked many times in a more organic way as the journey started to became the process. At that time, working in the London art schools and exposure to another metropolis, 

Penny was drawn to the aesthetics of the line and grid in repeat, of the synthesis, patterns and sequences formed

in their own right, as well as an emblem or that

vital energy of people en-masse in the capital.

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After working as a community artist in the 2000s, on

projects in green spaces, she developed an increasing interest in sustainability and her work gradually came to focus on the rolling hills of the South Downs National Park on the edge of the Brighton and Hove, where she lived

and then worked.

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Since moving to a village north of the city, in the lockdown, she has rekindled an interest in depiction and messaging of urban life and symbols alongside the rural (accessed through 'Current Work' on the Home page. 'Artist's News' announces plans for this development.​​​