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 larch forests in the Alps, titled after the songs which inspired them to evoke the sensation of being immersed in the landscape.
Trees
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
It's Between (Me n U), charcoal, silver powder and graphite powder on Fabriano 200 gsm paper, 81 x 62 cm
Footprints, charcoal on Fabriano 200 gsm paper, 81 x 44 cm
Telallás, charcoal, flour and graphite powder on Fabriano 200 gsm paper, 113 x 76 cm sold
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, based on a photograph of California’s sequoias under snow. Reflective networks of threads come alive momentarily under light or flash to frame towering silhouettes of rubbed out redwoods - a landscape made visible through your own light curation.
Networks
Website, pigment, graphite and reflective threads on Fabriano 200 gsm in black frame behind AR70 glass, 81 x 44 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.
Music
Amoenus, biro on primed black paper, framed in reflective sheeting and acrylic paint (scanned collage, digitally manipulated), 15 x 21 cm
Jali Bakary Konte and Friends, Mü, 23/05/25
Jali Bakary Konte and Friends, Mü, 23/05/25
Josephine Foster + Louise Landes Levi, Café Oto, 05/06/25
Minor Conflict, Strange Brew, 19/04/25
Moor Mother x Shovel Dance Collective, Café Oto, 02/03/25
Nicko Mroczkowski (Contrafacts), Reference Point, 14/12/24
Noel Art, Mü, 30/10/24
"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
Sam Gendel, Barbican, 14/11/23
Stork Diet, Café Oto, 8/11/23
Studium P, Café Oto, 8/11/23
Augustė Vickunaitė, Café Oto, 8/11/23
Sholto Dobie, Café Oto, 8/11/23
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
Residues
Film poster for “MOP!” (Sunken Lane), graphite and biro on Fabriano 200 gsm paper (scanned drawing, digitally manipulated), 59 x 42 cm
In 2021, I created the exhibition RESIDUE for Rodić Davidson Architects’ public window display in collaboration with Sophia Charap. In it, we investigated how the surface textures of a building due for demolition could prompt a reconsideration of ‘legacy’ in the context of England’s Heritage Lists.
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