Making art

that mines the

personal in search of

the psychedelic

and the absurd.

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

My particulate paintings can begin with a will to illustrate a dynamic, a statistic, or a process [accretion, dispersion, conversion...] and develop intuitively through layering and surface archaeology, building forms slowly [if at all], sometimes over years.

In the past I have compared my painting process to the formation of a rock pool. I paint flat and have a tendency to mix nebulous glazes with hand-painted intricacies, and treat each pigment like a lifeforce dominating or disappearing within a psychedelic vaccuum. 

When painting, 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, rugged ply-and-baton 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 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, bad infographics, dead-internet-theory, whatever I'm writing, photoreceptor fatigue, and the limits of human perception.

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