We began to collaborate at university, photographing the remnants of 1960's Manchester and West London and using the images to inform large scale paintings and collages that draw on reality and imagination to produce works that are part regret and part relief for a world that has vanished irrevocably. The use of different mediums attached to and removed from the primary pain...ting surface reflects and to an extent creates the tensions suggested by the ambivalence of the original source material. We make use of hand dyed fabrics and the printmaking techniques that underlay our university courses. DAVID CLAYTON The non-collaborative work is a more personal, less objective exploration of the themes of loss and redemption inherent in the jointly produced pieces. A more painterly approach employing a restricted palette and traditional oil painting techniques is used to suggest the periphery of memory by the investigation of the possibilities and limitations imposed by the process of painting. Although I rarely have a definite plan when approaching a new work nothing is accidental, art like life is determined by cause and effect. TINA FOGARTY Essentially a landscape artist Tina employs a variety of techniques and materials to explore the relationship between appearance and perception; using wax, fabrics, paints and found objects. Profoundly personal in nature much of her work remains unseen.