This website brings together fragments of work made over many years, with its centre of gravity in the last two decades. It is neither an archive nor a chronology, but a gathering of things that continue, in different ways, to speak to one another.

The work moves between architecture, drawing, objects and imagined spaces; between the physical world and those less tangible territories of memory, thought and invention. What begins in observation often moves elsewhere. A building becomes a body, an object acquires a presence, an image arrives before its meaning is understood.

The three areas that follow are therefore less separate bodies of work than different ways of approaching the same uncertain ground. Each begins with making and with the possibility that, through the act of making, something not previously visible might take form.

02 FORM

Digital drawings, constructed images and objects made through drawing, modelling and manipulation.

Here, the object takes the place of architecture. Things are drawn, modelled, borrowed and altered until their familiarity begins to loosen. Drawing remains a means of searching: an image found through repetition, accident and association rather than known in advance.

The digital becomes both material and space, a place where forms can move between image and object, abstraction and recognition, and where colour can acquire a presence almost independent of the things it inhabits. It is also an imaginary exhibition space: somewhere objects can meet, change scale and form relationships before, or without, assuming physical form.

These too might be portraits without likeness. Something of the self becomes dispersed amongst things, glimpsed through their mutations, collisions and unlikely affinities.

03 PSYCHE

Drawings in pencil, film, objects, sometimes incorporating silver leaf.

Here, the image precedes its explanation. Figures, objects and landscapes arrive through drawing, held together by associations that are felt before they are understood. Their logic belongs somewhere between memory, dream and myth, where the improbable can nevertheless carry an unexpected sense of recognition.

Humour sits beside unease; tenderness beside absurdity. An ordinary object can become charged, a figure become an emblem, an apparently simple scene open onto something much less certain.

Drawing keeps these images close to their first impulse. They are not illustrations of experience, but places in which experience is allowed to assume another form: part memory, part invention, part something that remains beyond language.

Drawing runs through all of this, although it does not always resemble drawing. A pencil mark, a modelled object, a digital gesture or the construction of an imagined room can perform the same function: each is a way of proceeding without entirely knowing where one is going.

Perhaps this is why the digital world became important to me. It offered a space without fixed edges, where an image might become an object, an object a room, and a room another world entirely. The website continues that possibility.

It is less a repository than another space in which the work can exist: incomplete, associative and capable of forming new relationships across time. What remains is not a conclusion, but a record of the decisions, accidents and discoveries made along the way.