Archives for category: biro

I’ve been working directly on to the walls of my studio space in Cathedral Studios. It has been a liberating and exciting process. I’ve continued the marks on to the floor and the ceiling, which encourages the viewer to feel that they are ‘in’ the work; to relate to the scale of the work with the size of their own body. The work has gradually grown over the past few weeks. Part of the feeling of freedom comes from the awareness that the piece can only be transitory. Ultimately it will be painted over, only to exist in photographs and memory.

This makes documentation especially important, though it is wholly inadequate in terms of experiencing the work. I have often thought this when looking at installation or performance art. Immediacy, sensory stimulation and interaction cannot be translated into a two dimensional image or video.


wall piece 1

wall piece 2














I suppose this is a sister piece to Reconnaissance (

It was made shortly afterwards and exhibits a similar structure with the large city like shape in the top left connected to its satellites via delicate vein like lines. I have often worked like this, loosely copying pieces that I consider to be moderately interesting and formally balanced. The ‘copied’ piece rarely resembles the original in detail.

The snaking quote, referring to  “the problem of making people love their servitude” is from Aldous Huxley.

page 1

page 2

These pages are from a 2005 A3 sketchbook and involve diluted ink, gloss paint and collage. The shape in the top right of the above page resembles a fat spider.

page 3

page 4

The shadowy figures in the pages above were achieved by working over plastic toy soldiers.



This piece was made around the same time as Reconaissance. The title was inspired by the shape at the top resembling a map of Austrailia. I like that it refers to an obsolete idea too, continental drift was superseded by the concept of plate tectonics in explaining the movement of continents.

Traced map fragments and spilt and scraped paint intertwine on the canvas. Scrawled text winds its way around the composition. I like to juxtapose sparse and densely worked areas, like in River on light blue, I constantly want surfaces to breathe and allow the eye to venture; to explore work at the macro and microscopic level.


This work was made with biro pen and pink crayon on canvas. The arrangement of marks resemble a mountain landscape with transmitters or swarms of hovering flies.

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