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Pieces produced this year are mixed media large scale pieces on canvas and board. My working process is physical, layered, and iterative. Application or removal of materials such as graphite, oil, acrylic, chemical stains, carbon paper, digital outputs, and organic traces all play a role. Equally important are acts of erasure, abrasion, and redaction. These are not destructive gestures but creative ones, marking the passage of time, the entropy of information, the shift from one state to another. Elements are applied, altered, removed, and sometimes returned. A geological or meteorological system as an emotional response to the digital era. A need to tear down the pixel, to rupture the screen, to reduce the torrent of information to a more natural tactile state.
For more information about my work or any particular piece, please contact me via the email address in the footer below or use the form on the contact page. All pieces are available for exhibition and purchase unless otherwise marked with a red dot.
Mixed media on canvas
90cm x 90cm / 35.4 x 35.4 in.
2013 – 2025
Junky presents a heavily textured surface in which layers of paint and material are built up, eroded, and fragmented, producing a visual language of decay. The accumulation and corrosion of matter suggest processes of deterioration, evoking the disintegration of both body and psyche under the weight of addiction. Despite the overwhelming density and rupture, faint compositional structures remain discernible, gesturing toward memory and the persistence of identity. The painting operates as a metaphor for addiction as a state of simultaneous construction and collapse, where the act of layering mirrors cycles of use and erosion. Through this interplay, Junky frames survival as a tenuous but enduring presence, embedded within the very fabric of ruin.
Mixed media on canvas
150cm x 150cm / 59 x 59 in.
2025
Maighdean Mhara, is rooted in reflection, distance and the resonance of place and time in memory. Initially conceived through a more figurative lens, the work gradually shifted into something more distilled. An evocation rather than a depiction. It became a way of creating a space for specific memory, even as the originally intended context faded into abstraction.
Mixed media on canvas
140cm x 140cm / 55.1 x 55.1 in.
2025
Lost Connection explores entropy of meaning within informational structures. Using repurposed elements from earlier works, it reflects on how content becomes dislocated, degraded, and reinterpreted. Intentional gaps and interruptions in the composition act as structural elements, representing both breakdowns and opportunities for reinterpretation. These absences emphasize disconnection but also the potential for reconnection.
Mixed media on canvas
140cm x 140cm / 55.1 x 55.1 in.
2025
Three distinct zones or landscapes stand apart yet remain bound by repeating motifs or markers of meaning, memory, or data. Though their purpose is deliberatley ambiguous, they create the visual structure of the potential of connectedness.
The spaces between zones are vital, the gulf inherent to seperation and disconnection while simultaneously establishing the hidden continuity which only reveals itself in division. The work reflects fractured systems of knowledge, memory and human relationships and suggests that even divided, parts can remain entangled, unified in separation.
Mixed media on canvas
140cm x 140cm / 55.1 x 55.1 in.
2025
A transitional space between the end of turmoil and upheaval and the beginning of recovery. Saffron orange, the central colour, reflecting a balance between heightened alertness and restfulness. A state of readiness, a metaphorical threshold for transition between one condition and another.
Mixed media on canvas
135cm x 135cm / 53.1 x 53.1 in.
2025
The Sectarian Kitchen examines how domestic habits and inherited stories perpetuate division across generations. Inspired by sectarianism in central Scotland, it reflects on layered separations—national, religious, and cultural—embedded in everyday life. Rooted in personal and geopolitical fragmentation, the work questions how deep divisions persist not through conflict, but through routine and identity. It challenges inherited loyalties and invites a rethinking of tradition and a future beyond entrenched hierarchies.
Mixed media on canvas
145cm x 145cm / 57 x 57 in.
2025
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Faded pastel colours provide a dynamic substrate within which motifs suggesting corrupted information are suspended. The Shaming of the True plays on the title of the Shakespeare drama, The Taming of the Shrew, a reaction to the web driven global trend for the manipulation of information to suit a particular agenda. The work is an expression of personal tension: a generational perspective caught between established knowledge, scientific fact and shifting cultural discourse.
It is a visual emotional self-portrait, a reflection on navigating an ever changing landscape of uncertainty, belief, and belonging and sublimation of groups of thought into generational clichés.
Mixed media on canvas
145cm x 145cm / 57 x 57 in.
2025
Growing up tethered to analog television transmission, the broadcast signal from the Black Hill Transmitter mast in the heart of central Scotland being interrupted by a technical fault, felt, even as a child, like an existential natural disaster. The work is about the experience of lost information and the emergence of abscence.
Mixed media on canvas
115cm x 190cm / 45.2 x 74.8 in.
2025
An exploration of the grammar of our navigation in the digital realm. Up, down. Left, right. Scroll up. Scroll down. Swipe left. Swipe right. It’s flat, but we move through it. These motions have become second nature, yet they come loaded with meaning. Swipe left, swipe right. A decision, a judgment, a gesture.
Recovered domestic paper and card waste, wood.
135cm x 135cm / 53.1 x 53.1 in.
2017-2025
Untitled Three unfolds as a quiet act of holding on—an archive of memory pressed into matter. Comprising a grid of handmade squares formed from recycled paper and cardboard, the work was constructed in the wake of a personal ending. What remains—fragments of the everyday, splinters of packaging, glimpses of pigment—has been torn down, pulped, and reassembled into something both fragile and enduring.
