About

My practice explores drawing and printmaking as a way of understanding and interpreting the world through familiar forms found in the home and natural environment. Working with line, surface, and composition, I treat drawing as both a visual language and a critical tool for observation, while printmaking emphasises process, material, and the passage of time. Using traditional techniques alongside intuitive approaches to abstraction, my work balances structure with spontaneity, employing colour and shape to create a sense of calm, depth, and visual clarity.

Phone Call for Millais

This is a piece from a collection entitled Tate Britain. Space Transformed.

It continues my journey with space transformation.

In this piece, I open up the gallery directly onto the street. There’s an iconic red phone box, and the sculpture of Millais. The traditionally defined art space is more accessible, but is the art outside the gallery as well?

In other pieces, I position a playground sign in the Tate Britain. People are confronted with the sign and consider why the sign is there. Should the instructions be followed, or is it just an art object? Their perception of the space is changed. They have to decide for themselves. I merge my journeys through Pimlico into the Tate Britain. Am I making the art more accessible? When does my journey end and the art begin?

I hope it allows the viewer to see the Tate Britain in a different light and increase their enjoyment of the gallery next time they visit.

My Future

The pathway to making art should reflect what you enjoy, and for me this is studying the art from the past and its history.

The walks I go on to get to the Tate and other art galleries in London allow me to put areas under a microscope. Visually understanding those pathways, I have taken over time and looking at how those interesting locations are juxtaposed in the quiet interiors of the Tate – one of the centres of art and art history.

In essence, My Future brings the outside walks into the interior of the Tate.