About

I build conditions where disbelief softens and awe becomes possible. Horizons, thresholds and waypoints recur because they hold attention while pointing beyond it. My practice moves across photography, print, drawing, installation and sound. Each medium offers a different register of perception: etching compresses time, aerosol suspends atmosphere, ink records duration, digital print opens a clean edge where memory can blur.

Motifs return without insistence. Chairs, lighthouses, buoys, dawn and dusk. They act less as symbols than as anchors, indexes of events happening off-frame. They steady attention and open it at the same time. Gradients, voids and blurred images hold the work in suspension, closer to perception than to statement.

Autobiography is present with restraint. Early loss and a year of amnesia fractured memory and identity. That history continues as current rather than subject, shaping my trust in the unresolved and my refusal of the neatly finished. The ethic matters more than the story. Authentic intent, and the refusal of the lie, hold the work in place.

Scale sits just beyond the body so that the viewer is implicated, not addressed at a distance. Ritual formats often replace artefact: a timed light, a structured silence, a spatial arrangement that invites presence without the artist as performer. Fieldwork gives the work its weather — Somerset Levels in full sun, Snowdonia in winter, London’s parkland horizons.

What carries through is a search for sovereignty of attention. Silence, blur and ambiguity are not evasions but openings. The work provides a horizon, the viewer brings their interior weather. In this meeting, perception hovers at a threshold and the border between imagination and memory becomes felt rather than declared.