artist printmaker
https://youtube.com/shorts/_pvLKkx11XM
anels” is a series born from fascination with how people can perceive themselves as mechanical entities – cogs within greater systems. The compositions of these panels are informed by themes of order, chaos, and modularity, suggesting a dial or switch for our compulsions and ambitions. Collectively, these panels form a vast, interconnected analogue machine, symbolising the complex workings of human thought and feeling when made visible.
“Control Panels” is a series born from fascination with how people can perceive themselves as mechanical entities – cogs within greater systems. The compositions of these panels are informed by themes of order, chaos, and modularity, suggesting a dial or switch for our compulsions and ambitions. Collectively, these panels form a vast, interconnected analogue machine, symbolising the complex workings of human thought and feeling when made visible.
“Control Panels” is a series born from fascination with how people can perceive themselves as mechanical entities – cogs within greater systems. The compositions of these panels are informed by themes of order, chaos, and modularity, suggesting a dial or switch for our compulsions and ambitions. Collectively, these panels form a vast, interconnected analogue machine, symbolising the complex workings of human thought and feeling when made visible.
Hedgerows and grassy verges make perfect nesting habitats for birds, intersects and small mammals, safe, hidden and protected. It is these very qualities that sparks my interest. Whether it’s grasses, hedging, brambles or a mixture of all of them they weave a fascinating pattern with great depth and complexity while leaving enough room for life to flourish.
A suitable jumping off point for ideas to form as part of my abstract landscapes study, this print series takes the hedgerow into the world of abstraction.
Hedgerows and grassy verges make perfect nesting habitats for birds, intersects and small mammals, safe, hidden and protected. It is these very qualities that sparks my interest. Whether it’s grasses, hedging, brambles or a mixture of all of them they weave a fascinating pattern with great depth and complexity while leaving enough room for life to flourish.
A suitable jumping off point for ideas to form as part of my abstract landscapes study, this print series takes the hedgerow into the world of abstraction.
Hedgerows and grassy verges make perfect nesting habitats for birds, intersects and small mammals, safe, hidden and protected. It is these very qualities that sparks my interest. Whether it’s grasses, hedging, brambles or a mixture of all of them they weave a fascinating pattern with great depth and complexity while leaving enough room for life to flourish.
A suitable jumping off point for ideas to form as part of my abstract landscapes study, this print series takes the hedgerow into the world of abstraction.
https://youtu.be/H5o8qzsuF5o
Hedgerows and grassy verges make perfect nesting habitats for birds, intersects and small mammals, safe, hidden and protected. It is these very qualities that sparks my interest. Whether it’s grasses, hedging, brambles or a mixture of all of them they weave a fascinating pattern with great depth and complexity while leaving enough room for life to flourish.
A suitable jumping off point for ideas to form as part of my abstract landscapes study, this print series takes the hedgerow into the world of abstraction.
I have chosen a fairly limited pallet for these paintings, nothing too light or dark. This helps harmonise the paintings when they are all seen all together as a set. I find it helpful to mix enough of a single colour to paint all the areas that share that colour across the set, this also helps with consistency, allowing me to add additional details at a later stage.
I use a combination of mediums when creating these paintings, the main one being acrylic ink, which used in this way is similar to working with watercolour. The advantage for me is that once the ink is dry you can work over it and it will not blend with the colour below, for example when painting these leaves I can put the lighter colour under and the darker on top.
In my ‘Man of Sorrows’ series of paintings and etchings, the association with traditional ways of depicting the crucifixion is evident but it is also a jumping off point, I have borrowed images and ideas from ancient Greece, Sumaira and Mesopotamia. My hope is that they take on new meaning and provide a different interpretation.