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 glow-in-the-dark pigments, glitter, semi-precious minerals and various forms of application ranging from airbrush to syringe.

My latest series has seen me commit to bespoke [and rather rugged, square 1200x1200] 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 equally inspired by fringe aesthetics [glitch, memes, devotional imagery, pseudoscience...] and scientific imaging [the astronomical, biological, hypothetical...].

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.