His vision is coloured by his immersion in this past. His surfaces are rich and sumptuous and he uses varied interwoven elements such as fabrics and flowers in his work. The crumbling plasterwork of ancient frescos are also alluded to in his use of plaster as base for acrylic and oil overpainting.

His admiration for Egon Schiele and Gustav Klimt can be seen in occasional references of line and decoration but he has extended their techniques to produce something altogether bolder and contemporary.

After leaving school at sixteen to train as a technical illustrator, he then earned a degree in graphic design. Having completed his education he set up his own studio. He soon found it was difficult to make a living from his own work and supported himself and his family for several years by producing, under the name of Woodward, illustrations for record sleeves, advertisements and books, as well as decorative serigraphs and lithographs. He achieved considerable popularity with his suites of pastel coloured figurative prints. Experimenting with different techniques, he developed entirely new methods of achieving effects in serigraphy to obtain qualities of light and colour that are now in general use.