Galleries 1996–2026
The galleries presented here should not be understood as separate periods or completed projects, these galleries reveal not a chronology of finished works but the evolution of a single enquiry. Like my book Eye-Worms, they trace the recurring images, processes and synaesthetic experiences that continue to shape my practice. The individual works are moments of temporary resolution within a larger, unfinished narrative that remains in progress.
2026
1998
2025
1997
2026
1996
1997
1997
1998
1996
1999
2005
2017
2023
2026
2019-2024
2019-2024
2026
2026 - ongoing
Childhood, Visionary States.
This series draws upon memories described in Eye-Worms. As a child, I experienced recurring visionary states in which ordinary perception dissolved into vivid, often ecstatic images. These moments could be both unsettling and compelling, existing somewhere between religious experience, memory and imagination.
Acrylic on hardwood panel, 125 × 130 cm,
2022 - ongoing
This series draws inspiration from the Zen paintings of Sengai Gibon (1750–1837). His playful philosophy and ability to express complex ideas through the simplest of forms.
Looking at simple shapes, and recording the synaesthetic response.
Circle, triangle, and square.
2018 - ongoing
Figure busts modelled in wax and cast in pewter, a metal whose muted grey recalls liminal spaces and a face only seen in misty memory.
After, Eye-worms, page 18-19
Grey mist
2020 - 2023 finished
Clown faces
A collection of 1,000 paintings, with 100 selected pieces compiled into a book.
After, Eye-worms, page 29
2019 - finished
Bargue Studies
These drawings begin with the nineteenth-century Cours de dessin of Charles Bargue, a system of copying that has trained generations of artists, including Vincent van Gogh. While remaining faithful to the original plates, I introduce a second layer: colour chosen not to describe the image, but to represent the synaesthetic sensations it evokes. The works become both an exercise in historical observation and an investigation into perception, asking how inherited methods of drawing might reveal a deeply personal and embodied way of seeing.
2012 - ongoing
Disposable Sculpture.
Large-scale plasticine sculpture. Photographed before being broken down for reuse; selected pieces shown
1996 - ongoing
This ongoing photographic project began with colour slide photography in 1996 and continues to develop through the present day. It explores the photograph as a direct record of light, time and the act of looking.
Working in complete darkness, I transform domestic and familiar spaces into temporary darkrooms. Using long exposures and a handheld torch, I slowly reveal objects within the frame, allowing light to construct the image over time. The process is deliberately physical and unrepeatable: each photograph records a particular movement of light through space.
The images are presented as unedited RAW files, retaining the camera's original record without digital manipulation. Across thirty years, the project has remained an investigation into how photography can move beyond simply recording what is already visible to record the act of making something visible.
RAW photography
2002 - ongoing
Produced over several years through a daily drawing practice, most of the works were intentionally destroyed as part of a weekly cycle of making and letting go. The finish works are collated into colouring books.
Colouring books
2000 - 2002
My MA explored the relationship between intrusive visual images; what I now describe as eye-worms, and repetitive ascetic practice. At the time, these persistent mental images often took the form of Pokémon characters that would repeatedly occupy my attention. Rather than resisting them, I developed an intense daily discipline of Kung Fu training, using physical repetition to transform both my relationship to the images and my experience of personal space.
The project examined how movement, repetition and disciplined practice can reshape perception, allowing internal imagery to dissolve, evolve or give way to new forms. Although the language of eye-worms emerged much later, the questions first explored during my MA have continued to guide my studio practice.
MA Degree
1996 - 1999
My BA marked the beginning of an ongoing investigation into how synaesthetic experience might be translated into visual form. Rather than treating art as representation, I approached it as a way of recording perception itself. The work moved freely between sculpture, painting, installation and drawing: colouring maps traced from walks through the city, constructing chairs that altered the body's posture before painting them in their corresponding synaesthetic colours, placing sculptural interventions within historic landscapes, assigning colours to every child in an old primary school photograph, and painting directly onto domestic spaces and objects to record the experience of interacting with them. Whether painting a bath with the sensation of washing the bath, or transforming everyday environments into perceptual maps, these early works sought to make visible an inner world that existed beyond language.
Looking back, these projects established the questions that continue to define my practice. The relationship between synaesthetic experience, memory, the body and lived space first emerged during my BA and has remained the foundation of my work, evolving over the following decades through painting, sculpture, writing and the development of Eye-Worms.