Gallery
Psyche XIII

“Psyche XII”

“Psyche XI”

“Psyche X”

“Psyche IX”

Maquette for “Psyche VIII”

Psyche VII

Psyche VI

Psyche V

Psyche IV

Psyche III

Psyche II

Psyche I

Fragment LIX

Fragment LVIII

Fragment LVII

Fragment LVI

Study for a Fragment VIII

Study for a Fragment VII

Study for a Fragment VI

Study for a Fragment V

Fragment LIII

Fragment LV

Fragment LIV

Fragment LII

Fragment LI

Study for a Fragment IV

Fragment L

Study for a Fragment III

Study for A Fragment II

Fragment XLIX

Study for a Fragment I (Third State)

Fragment XLVIII

Fragment XLVII

Fragment XLVI

Cast XXXIX

Cast XXXVII

Cast XXXIV

Fragment XLV

Cast XXXI

Cast XXIX

Cast XXIII

Fragment XLIV

Fragment XLIII

Fragment XLII

Cast XVIII

Cast XVII

Cast XIII

Cast XII

Fragment XLI

Fragment XL

Fragment XXXIX

Fragment XXXVIII

Fragment XXXVI

Cast IX

Cast VII

Fragment XXXV

Fragment XXXIV

Cast V

Fragment XXXIII

Fragment XXXII

Cast I

Fragment XXXI

Fragment XXX

Fragment XXIX

Fragment XXVIII

Fragment XXVII

Fragment XXVI

Fragment XXIV

Fragment XXII

Fragment XXI

Fragment XX

Fragment XIX

Fragment XVIII

Fragment XVII

Fragment XV

Fragment XIV

Fragment XIII

Fragment XII

Fragment XI

Fragment X

Fragment VII

Fragment VI

Fragment V

Fragment IV

Fragment III

Fragment II

Fragment I

Liz?

Charles?

Helen?

Ash?

Kwame?

Alex?

Jacq?

Rachel?

Samantha?

Louise?

Carly?

Amy?

Zoe?

Ella?

Gem?

Isobel?

Sofia?

Alice?


Psyche XIII
“Psyche XIII” Drypoint, 40x30cm.

“Psyche XII”
“Psyche XII” – Plaster on steel base, 28cm high.



“Psyche XI”
“Psyche XI” – Plaster on steel base, 30cm high.



“Psyche X”
“Psyche X” – Plaster on steel base, 30cm high.



“Psyche IX”
“Psyche IX” – Plaster on steel base, 38cm high.




Maquette for “Psyche VIII”
Maquette for “Psyche VIII” – Plaster, 52cm high.

Psyche VII
“Psyche VII” Drypoint, 40x30cm.

Psyche VI
“Psyche VI” Monoprint, 40x30cm

Psyche V
“Psyche V” Woodcut, 40x30cm.

Psyche IV
“Psyche IV” Monoprint, 40x30cm.

Psyche III
“Psyche III (Dissociate)” Lithograph Monotype Collage, 30×22.5cm

Psyche II
“Psyche II (Starling)” – Drypoint print on plaster, 28x21cm.

Psyche I
“Psyche I (Scatter)” – Drypoint print on plaster, with acrylic and sgraffito. 28.5x20cm

Fragment LIX
“Fragment LIX” – Plaster, steel rod, 44 cm high.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment LVIII
“Fragment LVIII” – Plaster, steel rod, 25 cm high.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment LVII
“Fragment LVII” – Jesmonite, 27 cm long, unique edition.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment LVI
“Fragment LVI” – Bronze, 24cm high, edition of 3.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Study for a Fragment VIII
“Study for a Fragment VIII” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.

Study for a Fragment VII
“Study for a Fragment VII” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.

Study for a Fragment VI
“Study for a Fragment VI” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.

Study for a Fragment V
“Study for a Fragment V” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.

Fragment LIII
“Fragment LIII” – Bronze, 16cm high, edition of 3.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment LV
“Fragment LV” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment LIV
“Fragment LIV” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment LII
“Fragment LII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment LI
“Fragment LI” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Study for a Fragment IV
“Study for a Fragment IV” – Etching, 40x30cm, Edition of 10.
These studies are an opportunity for me to experiment with the printmaking techniques of etching. The prints bridge the gap between my initial idea and starting a painting. Drawing allows me to answer compositional questions and is essential for me to understand the line, shape and volume of my subject.

Fragment L
“Fragment L” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Study for a Fragment III
“Study for a Fragment III” – Etching, 40x30cm, Edition of 10.
These studies are an opportunity for me to experiment with the printmaking techniques of etching. The prints bridge the gap between my initial idea and starting a painting. Drawing allows me to answer compositional questions and is essential for me to understand the line, shape and volume of my subject.

Study for A Fragment II
“Study for a Fragment II” – Etching, 40x30cm, Edition of 10.
These studies are an opportunity for me to experiment with the printmaking techniques of etching. The prints bridge the gap between my initial idea and starting a painting. Drawing allows me to answer compositional questions and is essential for me to understand the line, shape and volume of my subject.

Fragment XLIX
“Fragment XLIX” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Study for a Fragment I (Third State)
“Study for a Fragment I (Third State)” – Drypoint, 40x30cm.
These studies are an opportunity for me to experiment with the printmaking techniques of etching. The prints bridge the gap between my initial idea and starting a painting. Drawing allows me to answer compositional questions and is essential for me to understand the line, shape and volume of my subject.

Fragment XLVIII
“Fragment XLVIII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XLVII
“Fragment XLVII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XLVI
“Fragment XLVI” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Cast XXXIX
“Cast XXXIX’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Cast XXXVII
“Cast XXXVII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Cast XXXIV
“Cast XXXIV’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Fragment XLV
“Fragment XLV” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Cast XXXI
“Cast XXXI’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Cast XXIX
“Cast XXIX’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Cast XXIII
“Cast XXIII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Fragment XLIV
“Fragment XLIV” – Bronze & Limestone, 20cm long, edition of 3.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XLIII
“Fragment XLIII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XLII
“Fragment XLII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Cast XVIII
“Cast XVIII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Cast XVII
“Cast XVII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Cast XIII
“Cast XIII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Cast XII
“Cast XII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Fragment XLI
“Fragment XLI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XL
“Fragment XL” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXXIX
“Fragment XXXIX” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXXVIII
“Fragment XXXVIII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXXVI
“Fragment XXXVI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Cast IX
“Cast IX’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Cast VII
“Cast VII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Fragment XXXV
“Fragment XXXV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXXIV
“Fragment XXXIV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Cast V
“Cast V’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Fragment XXXIII
“Fragment XXXIII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXXII
“Fragment XXXII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Cast I
“Cast I’ – Ink monotype on plastic + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.

Fragment XXXI
“Fragment XXXI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXX
“Fragment XXX” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXIX
“Fragment XXIX” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXVIII
“Fragment XXVIII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXVII
“Fragment XXVII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXVI
“Fragment XXVI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXIV
“Fragment XXIV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXII
“Fragment XXII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XXI
“Fragment XXI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XX
“Fragment XX” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XIX
“Fragment XIX” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XVIII
“Fragment XVIII” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XVII
“Fragment XVII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XV
“Fragment XV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XIV
“Fragment XIV” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XIII
“Fragment XIII” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XII
“Fragment XII” – Acrylic & ink on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment XI
“Fragment XI” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment X
“Fragment X” – Acrylic, charcoal & pastel on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment VII
“Fragment VII” – Acrylic, charcoal & pastel on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment VI
“Fragment VI” – Acrylic, charcoal & pastel on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment V
“Fragment V” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment IV
“Fragment IV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment III
“Fragment III” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment II
“Fragment II” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Fragment I
“Fragment I” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.

Liz?
“Liz?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Charles?
“Charles?” – Oil and acrylic on canvas, 61x46cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Helen?
“Helen?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Ash?
“Ash?” – Oil and acrylic on canvas, 61x46cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Kwame?
“Kwame?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Alex?
“Alex?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Jacq?
“Jacq?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Rachel?
“Rachel?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Samantha?
“Samantha?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Louise?
“Louise?” – Oil and acrylic on canvas, 91x71cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Carly?
“Carly?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Amy?
“Amy?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Zoe?
“Zoe?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Ella?
“Ella?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Gem?
“Gem?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Isobel?
“Isobel?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Sofia?
“Sofia?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.

Alice?
“Alice?” – Oil and acrylic on canvas, 122x91cm.
These paintings each depict a brief moment, a glimpse of a person, perhaps passing in the opposite direction on an escalator or brushed passed in a crowd, in that moment there is a spark of connection and somehow you are able to experience their thoughts, feelings, and daydreams. These images are an attempt to record that sensation before it fades.