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The inspiration for my designs is varied and wide: ‘primitive’ and geometric designs from around the world, Celtic art, Medieval tile patterns, 16th century woodcut illustrations, 1930’s and 1960’s decorative design and the Arts and Crafts movement – for example the work and philosophy of William Morris

His flower designs were not merely representational, but also symbolic: ‘You may be sure’, he wrote, ‘that any decoration is futile…when it does not remind you of something beyond itself, of something of which it is but a visible symbol’. He spoke of, ‘those natural forms which are at once most familiar and most delightful to us, as well from association as from beauty’. In my representational designs I always aim, firstly, to illustrate the chosen subject accurately and, secondly, to inject life, character and meaning into that representation: The ‘Rose’ is carefully researched, its representation throughout history studied – the same with the thistle in ‘Scots Thistle’. My cats in ‘Cats & Birds’ are not just sweet, fluffy kittens – they are predators (see the tail feather fly off the bird they nearly caught!). Abstract designs, on the other hand, can be pure fun – the shapes meaning different things to different people.

Last, but not least, I am greatly indebted to Peggy Angus (1905-1993), artist, wallpaper and tile designer (see link) who I was fortunate enough to meet, as she was a friend of the family. Although I met her late in her life she was an extraordinarily inspiring and lively person. I spent a fair amount of spare time as a student printing some of her wallpaper commissions in her studio in Camden Town. Here I spent many hours listening to her railing against the lack of ‘artistic patronage’ in society and the importance of bringing joy into people’s lives through the applied arts. She would also enthusiastically quote from William Morris, as well as singing all sorts of wonderful old Scottish folksongs! I print my wallpaper in the method learnt from Peggy – which is only registered by eye – using no printing press or other equipment. So, in terms of production, it is many miles away from William Morris whose beautiful wallpaper was always printed using wood blocks and a printing press – with perfect registration and no room for error. Thus his papers could have many different colours. Mine, on the other hand, are only ever two colours – background and foreground. This very simple method of printing, though, can be seen as a self-imposed limitation – two colours being sufficient for a wall covering if it is seen, like a damask, as a background on which to hang pictures etc. – which is the intention.   Further research: William Morris Society Peggy Angus

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