These drawings are made through an iterative process of casting charcoal dust onto a glued surface. I work from a combination of photographs and memory, moving through a cyclical process of blowing, erasing, sweeping and repeating to test the theory that every minor action has a major consequence. Each drawing remembers the Alpine larch forests of my childhood, titled after the songs which inspired them to evoke the sensation of being immersed in the landscape.

Clearing, charcoal on Fabriano 200gsm paper, 81 x 62 cm sold

Greens, silver thread and pigment on Fabriano 200 gsm paper, 81 x 62 cm, £950

It's Between (Me n U), mixed media (charcoal, silver powder and graphite powder) on Fabriano 200 gsm paper, 81 x 62 cm, £950

Footprints, charcoal on Fabriano 200 gsm paper, 81 x 44 cm, £750

Telallás, mixed media (charcoal, flour, graphite powder) on Fabriano 200 gsm paper, 113 x 76 cm sold

Elaenia, mixed media (charcoal, flour, graphite powder) on Fabriano 200 gsm paper, 113 x 76 cm, £1200

What if the hidden networks between trees were made visible and folded into public infrastructure?

Using hi-vis as a collective and directive language of awareness, this drawing stitches together the frictions of living with technology and longing to be in nature. It envisions a world where both exist; one does not forfeit the emergence of the other. Based on a photograph of Californian sequoias under snow, reflective networks of threads come alive under the camera’s flash to frame towering silhouettes of rubbed out redwoods - a landscape made visible through the use of your phone.

Website, pigment, graphite and reflective threads on Fabriano 200 gsm in black wooden frame behind AR 70 Artglass, 81 x 44 cm, £880

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Film poster commission for “MOP!” (Sunken Lane)

Print of graphite and biro on Fabriano 200 gsm paper (scanned, collaged and digitally manipulated), 59 x 42 cm

In this ongoing series, I transcribe music into drawings. Each drawing records impressions of live music made at gigs with a ball-point pen, which I later scan and invert on Photoshop. The descriptions record the musicians, venue and date.

I was inspired by Pauline Oliveros’ definition of aphorisms “(the ear tells the eye where to look)” to relate gesturally to sound, and note the collective attunement these musicians carve into space.

Amoenus, biro drawing (digitally manipulated) on primed black paper, framed in salvaged reflective sheeting and acrylic paint, 15 x 21 cm

Jali Bakary Konte and Friends, Mü, 23/05/25

Josephine Foster + Louise Landes Levi, Café Oto, 05/06/25

Moor Mother x Shovel Dance Collective, Café Oto, 02/03/25

Nicko Mroczkowski (Contrafacts), Reference Point, 14/12/24

"Sometimes I pee in the garden when we've got guests," AMP Studios, 21/07/24

Loraine James (Glitch this Bitch), Café Oto, 28/02/24

Flanafi into Dean Blunt (not live), Home, 28/10/23

Aleksandir & Supu (ambient set), Iklectik, 25/10/23

Mad Professor (Giant Steps), Hackney Baths, 15/10/23

Salami Rose Joe Louis, The Victoria, 11/10/23

Xhosa Cole, Pat Thomas, Josh Vadiveloo, Gary Wilcox, Café Oto, 24/09/23

RESIDUE was an exhibition I created for Rodić Davidson Architects’ public window display in collaboration with Sophia Charap, where we investigated how the surface textures of a building due for demolition might help us reconsider our relationship to legacy.

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