Making art

that mines the

personal in search of

the psychedelic

and the absurd.

I am pleased to be painting again after a couple of years as a full-time family caregiver. Shifting priorities has allowed me time to research widely, periodically fixate, and to incorporate my findings back into the studio.

That research is currently shaping a series I'm calling Zooming All The Way Out [working title], paintings that make follies of speculative universal superstructures in the hopes of projecting inner worlds.

Creating these works requires much restraint, putting faith in consistency and small touches, as each painting feels distractingly unresolved until its final marks are made.

More than ever, I am enjoying the challenges of crafting complicated, pored-over art objects that can shift something in a space.

They begin with a will to illustrate an abstract dynamic, a shifting statistic, or a [to me] imponderable process [accretion, dispersion, conversion...] and develop intuitively through layering and surface detailing, building forms slowly [if at all], sometimes over months.

In the past I have compared my painting process to the formation of a rock pool. I paint flat and move over a surface in waves, mixing nebulous glazes with hand-painted intricacies, and treating each pigment like a life force dominating or disappearing within a psychedelic vacuum. 

My preference is contemporary water-based paints and mediums, including those infused with pearlescent microplastics, glow-in-the-dark pigments, semi-precious minerals and more. I continue to embrace toxic colour schemes including neon, in moderation, and various forms of application ranging from airbrush to syringe.

My latest series has seen me commit to bespoke [and rather rugged] timber panels as a foundation for each new painting. The ply panels are sealed, primed and gessoed, hand-prepared and fixed to dressed timber bracing. The painted surface is finally sealed with a UV varnish, and the reverse fitted with keyhole hangers.

In 2026 I am inspired in equal measure by sciences, mythologies, and methods we use to communicate their ideas.

When I'm not painting I can be found periodically fixating on remote sensing, worship (noun), N-body simulations, The Fox and the Cat, screenshots that also capture screen reflections, bad infographics, anti facial-recognition fashion, dead-internet-theory, the 1948 alpine rescue of Ruth Adams, Camp Miasma, whatever I'm writing, photoreceptor fatigue, and the limits of human perception.

As I am not active on social media, future exhibition details will be posted here first.