The final film peel for the Grimmsacre commission. This piece is designed to be installed in a shower area. The Silver Silhouette is a portrait of a tree in the garden that can be seen from the bathroom window. The intention was to introduce a piece of iconography that celebrates the exterior world and tries to manifest a sense of the tree’s presence in a personal and intimate space.





Installing paintings in the Walkie Talkie building, on Fenchurch Street. The project was undertaken with the photographer Giles Edwards here documenting the work. The project consisted of a number of individual works using a variety of materials, all of which were selected because of their terse, reflective qualities. The synthetic nature of these surfaces, combined with an organic asymmetric projection of nature attempts to cut through the almost oppressive linear structure of the glass facade. The drawings and paintings on glass, aluminum, Vinyl, gold, rhyme with the immense variety of structural accumulation framing each work.  The proximity of the built environment and the nature displayed in the drawn line is thrilling, a striking parallel between idea and execution, a perpetual building site high above the London skyline.







Return for a second exhibition at the Venner Gallery, 1184 Argyle Street, Finnieston, Glasgow. Top right Mirror chrome drawings with forest designs taken from a sketchbook made while on residency in Helensburgh, the original drawings were made near Kilmartin Iron age fort. The Broken tree painting bottom left, is the 4th portrait of this particular tree which resides in Chilston manor park near Maidstone in Kent. Mugdock Park, Milngavie just outside Glasgow is the inspiration for the large enamel drawing on white perspex. The Veneer gallery provided a fantastic opportunity to exhibit the work in a way that would harness the surface quality of the works, hanging translucent acrylic in the window produced an almost stain glass effect, which pervaded the exhibition. Mirror chrome projected light into the gallery and magnified the synthetic nature of the show. Almost seemed to work better in low light.



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Gardening and painting. These small botanical studies painting on stretched silk were made from observation. I was very aware that the colour and form and the immense variation would provide valuable material that could be applied to other areas of my work. In some ways, this simple process of looking and recording helps me to focus and concentrate. This is enhanced by gardening and the awareness of plant life as it grows and develops. Particularly interesting structures or colours can be gathered and studied. The central feature of working in this manner essentially is to be in the moment. A very rare commodity.


Growing drawings in composite formations. In this way, you are not constrained by the end of the canvas or sheet of paper, the composition is able to expand indefinitely. An interesting feature is the relationship between the panels. As the drawing expands your frame of reference shifts ultimately leading to a warp in the scale and structure of the section. As time goes on these inconsistencies get larger and the gestural parts of the drawing begin to evolve independently as you start to draw in a distinct way. What you are left with overtime is a patchwork of inconsistent human responses to an automatic way of drawing based on local and memorized rhythm and pattern. This peculiar set of interactions has the effect of creating a set of what I would describe as energies. Fundamentally it’s best to perceive them as a record of experience rather than an attempt to make a coherent depiction