Confrères and Consœurs

Creativity across the years. (Text By J. N. Pearce, with quotes from artists in italics.)

Except in the case of Clement Griffith, whom I met in the sixth form at Stationers’ School in 1958, artists on this page are those I met after leaving Hornsey College of Art in 1963, and whose lives and work I have been aware of over the years, from close encounters or collaboration, sometimes more distantly.

Artists on this page: John Richter, Susan Herivel, Clement Griffith, Pauline Jones, Phillip Hood.

Please scroll down, and click on smaller images to view galleries:

John Richter

John Richter, Newcastle 1964

It was my reaction to what was not said in my upbringing that started me off as an artist, and then later, it was to find meaning in the world and share it with others.”

Sculptures from marine debris, Newcastle 1964 – Pearce/Richter collaboration

John Richter studied at Cambridge School of Art, learning stone carving and letter cutting in the Eric Gill tradition from Donald Potter and Kevin Cribb. He studied painting at Chelsea College of Art, where he also lodged with, and learned wood engraving from, Gertrude Hermes. 

Apart from his teachers, his main influences at this time were the art of ancient Egypt, cubism and the early 20th century pioneers of modernism in St Ives.

Sandstone 196364


In 1968 John moved to America, working for a time as an assistant to the Russian constructivist Naum Gabo, and as a Jewellery designer with The Metropolitan Museum, the Boston Museum of Fine Art, and Steuben Glass Company, New York. 

Always drawn to deserts, Richter subsequently moved to Tucson, Arizona, where the Rosequist Gallery represented his desert paintings. 

Since 1980 John Richter has lived and worked in Norfolk, showing paintings in the Bircham Gallery, Holt. He acquired some whelk sheds on the wharf at Wells, which he developed as his own studio-gallery.

“My paintings start with an initial demand to find a visual equivalent, then to locate an external means, quite conventional, such as a coastal view, or a vase of flowers. 

The task is to take the painting through a selection of colour and pattern harmonies within a pictorial structure, into a different and personal vision. At times the transition is more obvious than others, but the objectivity of this process has always been my inspiration.”


Jubilee Year 2012, Wells next the Sea
John also does woodcuts, often for illustrations to handmade books.
Wild Flower Vases 2011

The little sailboat is a metaphor for the soul leaving the protection of the land for the experiences of life; its dangers, excitement and opportunities. 

Recently, Richter has used a technique of applying oil paint with a screwdriver.
Woman With Blue Eyes, 2020
Wells Harbour, January 2021
Seagulls, February 2021
Moonlight – March 2021
Bait Shed Tea
Watercolour, 2021
June 2021, A carving from a weathered gate post: John Richter’s contribution to a group event in Wells on the theme of Compassion in the Time of Covid .
TheBlue Vase, Oil on canvas 30X 24 ins. 

In July 2002, John Richter’s painting The Blue Vase was exhibited in Maltings, the arts centre in Wells next the Sea, Norfolk, in an exhibition recognising artists living and working in the area. Each artist could submit three works. Visitors were offered slips to mark their favourite three, in order. 500 did so and The Blue Vase painting was the outright winner.

To see more of John Richter’s current work, click on:

Susan Herivel

“For me, once I have ‘woken up’, so to speak, I see something from the corner of my eye. It’s ephemeral; sometimes it shimmers, sometimes it’s dark and odd looking. Sometimes it hands itself to me fully formed and other times it has to be chipped away to be revealed. There was a chance I never would have done anything. It was just luck that I woke up.’ 

Susan, 1970 © John Gilbert

Born in Belfast in 1948, Susan grew up in County Down and studied fine art and ceramics at Belfast School of Art and Design, under the potter Laurie Smith, obtaining the Diploma in Art and Design in 1969. 

Quartz Crystals, pencil, A2 paper

For her dissertation, she studied the carved and ceramic surfaces of Belfast architecture, working with the architect John Gilbert and the composer and architect Marcus Patten MBE.


Above: dresses, pencil – sea pots – impressed vase – photos of ‘sea-ribbed sand’ – ‘sandcast’

impressed bowls – Figurine ‘Isolde’.

Susan uses techniques of printing and rubbing to show figures, plants and shadows, and she draws from observation and imagination. The underlying obsession is the moulding of form, and impression in the widest sense, tactile or theatrical: that of the human body within a dress once worn, patterns made by the sea on sand, or flickering light on the mind’s eye.

Above: Siegfried (ink) – Firebird (pencil) – fFgure with Fan – Dancer.

Daisies – acrylic & gesso impression on panel.
Susan Herivel unveils the blue plaque she made in memory of her father, John Herivel – Susan tells the story, below:

Clement Griffith

“The one continuum we know just shrugs. To it, no blame attaches. There the catch is.” (‘Stuck’ From ‘the world of always Sunday’, C. Griffith 2017)

Clement 1975

Clement attended the Central School of Arts and Crafts 1964-68. He wrote his graduate thesis on anarchism, and studied the history of art and education, becoming a lecturer in liberal studies, initially to police cadets. Clement has travelled widely and has always been a prolific writer. His pictures accompany his stories, satires, poems, sceptical observations, and novels.

From ‘The Next Settlement’
With eyes open or shut, you can sleep lightly here. On your face will be the pale sunlight, like a slightly dying fire at the greatest of its comforting. Its steady, patient flames have consumed a world that is memory and warm ashes.”
Going North, pencil on paper 4’x6′ 1974
Life Drawing, May 1964

“My drawings and paintings have always tended to the figurative. I am strongly beguiled by appearance, both of the world, and of art that has a visual relationship to it – although I cannot conceive of any visual art that does not”

Entrance, Oil on canvas 34″x 27″ 2019
Landscape in a Solar eclipse, oil on canvas 4’x4′ 2012

Place, oil on canvas 3’9″x4″ 2017

Clement might be described as an undeceived fantasist.


Oh yes, you’ll live,
and have your moments too,
before you waft a tiny tad of poo.
They’ll change you patiently and wait
upon your long fumble at the gate.
They will die too, and clocks will suffer ticks.
Enter, exit; in between’s the fix.

Oh yes, you’ll end, as if you never knew;
a kiss, a handshake, or a drink or two
is best, and does all honour decently,
though most just fade away and cease to be.
The cause of death is life, and more or less,
posthumous hoping just a groping guess.

Oh yes, you’ll go,
as of a general rule.
You’ll slump in the TV lounge,
and drool.
They’ll come to see you, mention this and that,
bringing biscuits and a halting chat,
and watch your fingers fidget as you drift,
then rise through twilight in a little lift.

Pauline Jones

“I paint out of necessity, to embody who or what I am at any given moment, and to leave a more permanent trace of my fugitive vision.”

Pauline in 1964

Pauline was born in Merseyside in 1946. She studied painting at the Central School of Art and Design and at the Slade. She has worked in graphic design, animation, book illustration and textiles. Her painting became highly Photo Realist, but by the early 1990s she had found new painting territory, which she is still exploring. 

Waiting – tempera on panel

 “I have a sense that I am only ever searching for that one painting. Sometimes it semi-arrives in a surprising form. The occasional sense of achievement is profound but very short lived; the search is always on. I cannot stop or go backwards.”


Pauline has exhibited in ‘Art of Imagination’ exhibitions in London, USA and Europe, in the Henry Boxer Gallery of Outsider and Visionary Art, in the Raw Arts Festival, Islington, in ’Images of Elsewhere’ with Talisman Fine Art, and in ‘Where Art meets Science,’ at Pennsylvania University.

Sea of Dreams

See also: 


Philip Hood

‘Although I work in different styles, I’m still on a journey to develop a style which is realistic but not photographic.

 My method of working has, up to now, been dictated by commercial considerations but I’m trying to produce work which has impact on a gallery wall as well as on the printed page. This needs a different mindset because, although we use the same materials, illustration and fine art painting are very different activities. 

Learning creatively from your own past work and from the example of others is a continuing and never ending process.’

Shipwreck, oil on board 46 x 58 cms.

Phillip Hood studied graphic design at the London College of Printing from 1968 to 1971. On graduation he joined the illustration agency Young Artists, through which he began to produce artwork for book covers, especially crime fiction.

Salvage ship, acrylic on board, 46 x 48 cms.

In 1974 Phil joined Punch magazine as a designer, while continuing a parallel career as an illustrator. He also drew for Punch, and has subsequently become a sought-after caricaturist at corporate events in the UK.

From the 1980’s Phil developed as an international trompe l’oeil mural painter, with commissions in Denmark, Ireland, Turkey, Abu Dhabi and the UK. He has also taken commissions to make copies of valuable paintings, acknowledging the source. Throughout his career Phil has exhibited illustration work at the Association of Illustrators, the Illustration Cupboard gallery and A View of London show at The Transport Museum.

Phil’s work has also been successful in open exhibitions for freelance artists. In 2009, 2010 and 2017 he was short listed for the Sunday Times watercolour prize at the Bankside and Mall galleries.

Snowtime on Hampstead Heath, watercolour


Hood has developed a detailed technique combining imagination with factual consistency. While he uses photographic and other reference material, he works also from direct observation, in particular by constant practice in life drawing.

Northwood Hall, Highgate, oil on canvas 40 x 50 cms. Painted from an upstairs window.

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