Art that mines

scientific imaging for

the psychedelic

and the absurd.

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

That research is currently shaping a series I'm calling Zooming All The Way Out. Compositions inspired by speculative universal superstructures and hypothetical particle interactions... rendered meticulously in the colour-schemes of safe-foods and single-use plastic.

Creating these works requires surprising 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 may begin with an abstract dynamic, a shifting statistic, or a [to me] imponderable process [accretion, dispersion, conversion...] and develop intuitively with 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 glazes and hand-painted intricacies. 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, CBG, worship (noun), N-body simulations, The Fox and the Cat, screenshots that also capture screen reflections, bad AI infographics, anti facial-recognition fashion, dead-internet-theory, the 1948 alpine rescue of Ruth Adams, Camp Miasma, whatever I'm writing, Tom of Finland, Silo, Sunrise, the evolution of glitch aesthetics, photoreceptor fatigue, and the limits of human perception.

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