The Process

It starts with a photograph...

Sometimes I make a special trip to visit a particular place, sometimes I'm just out and about. I can often be found just pottering about on a deserted beach, finding objects washed up and generally taking photographs with either my Canon EOS or just a mobile phone camera.

Inspired by patterns in the natural world, the seas and oceans in all their states are a main feature of my work. Ever changing and with a myriad of moods and colours, the fickle and the constant provided by them is soothing, inspiring and exciting. I am an inveterate cloud and wave-watcher!

It's not always about the natural world though. The photo above is of an abandoned truck in Kefalonia. In 1953, a devastating earthquake shook the island and only a couple of years later the island was all but abandoned. In 2013, to commemorate the 50th anniversary, I was selected to take part in the year long festival, "The Stone Kingdom" in Kefalonia. I spent 2 weeks travelling the island and taking a large quantity of photographs, not just of my normal nature subject material but also of the various ruins still dotted around the island from this period. I found this old 1940's Dodge truck, which I imagined to have been abandoned after suffering damage to the roof from the quake.

Creating the Work

The digital photograph EXIF information, comprising date and time data, GPS coordinates and the colour palette are fed into my software to create the base fractal. From here my artistic interpretation takes over. Using memory of place and ethereal data, I manipulate the fractal until I feel a reconnection of memory, photograph and emotion in the image.

What evolves is a fusion of two distinctly differing fields; the absolute rules of the fractal algorithm and the imagination of the artist acting on sensory and actual recollection. Sometimes, a pattern will emerge within the fractal which has a startling relevance to the theme I wanted to convey. It's rather like watching clouds; the longer you look, the more you see.

Many of my works not only carry a title but also the GPS coordinates relating to the piece. The piece below is entitled "Abandoned Truck - Metaxata; Lat. 38° 07' 30" N, Long. 20° 32' 37" E."

Zen Manipulation

Occasionally, I will be transforming a fractal image and suddenly I will see something else in the image totally unconnected with the original photograph or place but it'll remind me of something or somewhere. In true Zen tradition, I will follow this to an end point, as this is where I was meant to be.

The example here is a piece I created and used for the poster for my "Io" exhibition, commemorating the devastating earthquake on the island of Kefalonia in 1953. I felt that this Zen peice, entitled "Earth Sounds", summed up the sights and sounds, and emotional response to an earthquake.

Earthsounds, Kefalonia
Earthsounds - Kefalonia
Lat. 38°15' 54" N; Long. 20° 55' 14" E
Earthsounds, Kefalonia
Poster for 'Io' exhibition, 2014
Earthsounds, Kefalonia
The finished work on display at the 'Io' exhibition.

The detailed close-up

Because of the nature of the internet, it's impossible to show my images online to a high detail level without running the risk of illegal download and reproduction of my works. This is why some stepped artifaxing occurs on diagonal lines when zooming in on some of the images.

To show the level of detail I achieve, I have taken sections of large works and zoomed in on them to show as examples. Even doing this, it's not possible to second guess what type of screen that visitors to my site view these images on but I hope it helps.

Position your mouse pointer or finger over the detail images to zoom in even closer.


Stone Shapes

Runswick Bay
N. 54°31'44"; W. 0°44'42"

Hepworthesque sculptures naturally polished by the elements. Exhibited in "Our Land, Our Sea" 2019.

Editions: 10
Size: A2
Media: Giclée on archival paper
Available in the gallery shop.

Tidepool Colours I


A multitude of colours. Seaweeds glint like jewels in a shallow tidepool. Exhibited in "Our Land, Our Sea" 2019.

Size: 22" x 34" (56cm x 87cm)
Media: Canvas
Available in the gallery shop.

A Feast of Flowers

Sandsend Beck
N. 54°29'53"; W. 0°41'28"

Flowers and foliage; a medley of spring hues. Exhibited in "Our Land, Our Sea" 2019.

Editions: 10
Size: A2
Media: Giclée on archival paper
Available in the gallery shop.

The Angel's Share

My first solo exhibition in 2013, based upon Orkney and Shetland, entitled 'Recording, Recurring, Reflecting', was funded by the Arts Council, with the opening night sponsored by Highland Park, the whisky distillery in Orkney. They were kind enough to send four large bottles of their exquisite 12 year old single malt for the opening night. I just happened to use the colours from their logo and the bottle sleeve, with the co-ordinates of their distillery as a basis for a piece when the image took on the appearance of angels wings.

Whilst the whisky ages in the barrels, a certain amount of alcohol evaporation occurs through the grain of the wooden barrels. This is known as the "angels' share". It seemed appropriate to name this piece, 'The Angel's Share, Kirkwall, Orkney  -  58.9691°N; 2.9568°W.'

If you're ever fortunate enough to visit Orkney, a Highland Park distillery tour should be high on your list of things to do.


Do fractals dream of eclectic sheep?

Whilst on my photographic mission in preparation for my Orkney and Shetland themed exhibition, I was walking across a tombolo in Shetland when I came across a vertebra from a sheep and a sadly deceased sea bird, both having been washed up on the sand.

Whilst using the photos taken on the tombolo that day, one of the pieces turned out to resemble the bird skeleton I had seen, another piece took on the form of a vertebra with, oddly enough, tiny sheep around the edge. The memory of birds is further up this page but 'Vertebra' is shown here. See if you can spot the sheep.

The donated flowers

Art on the bus

The Our Land, Our Sea Exhibition included an audio-visual exhibition on Moorsbuses and featured works based on locations in and around the North York Moors National Park.

I was interested in creating art that escaped the traditional gallery setting and allowed people to have an unexpected encounter with art, so teaming up with Moorsbus was ideal. Moorsbus CIC is a volunteer led, not-for-profit company dedicated to providing public transport to, from and around the North York Moors for those who do not have access to cars. I believe passionately in their ethos and it was a pleasure to work with them and to donate four first edition prints toward their fund-raising efforts.

‘Our passengers loved both exhibitions and were as impressed and delighted by Vienna’s work as we were. Several asked for the on board one to be continued after its official end and we were grateful that Vienna allowed us to do this, as were the bus company (Reliance Buses) and their drivers.’
Eden Blythe.
Director - Moorsbus Community Interest Company.