Michael Simpson was my tutor at art school. I studied Fine Art at Bath School of Art and Design (part of Bath Spa University) and Michael, a contemporary of David Hockney, was everything you imagined an art tutor to be. Tall, slim, dressed in black and slightly scary. He could always pin point exactly what the issue was with your work, even before you knew you had one. Sadly he had a stroke whilst I was in my final year and I drifted tutorless for the most important year.

His large scale paintings are epic. They are huge. You wonder how he gets around the canvas. Perhaps that is why he is so slim. The benches and ladders he depicts are executed in absolute detail. Nothing feels like its there by chance. They float in the air of whiteness. But it was the whiteness that fascinated me the most, because at the edges you can see that the backgrounds are not solid white, there are layers of colour buried beneath these white surfaces.  These deeper underlays must be what gives the white such a depth. And the layering technique is something I would like to consider in digital printing which often appears flat and dull in comparison with the fugitive layers of screen prints.

White Ink is not yet available in the range of dyes used by digital inkjet textile printers, although it is used in the pigment inks that t-shirt printers use. However using layers of colour, overprinted, to create a depth to the resulting layer is definitely something I would like to investigate.