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My practice is rooted in drawing from observation. I regularly take drawing walks around Bristol, making quick charcoal sketches that capture fleeting moments of interest in the city. These sketches form the raw material for my studio work.

 

Back in the studio I often overlap forms from multiple observational drawings, allowing them to interact and form the underlying structure of a new piece. From there the drawing develops in a more imaginative direction. Intuitive mark-making, pattern, and material exploration become part of the process, and the work begins to move between observation and invention. I often use collaged cardboard as a textured surface, which adds a sculptural element to the work. At this stage, recurring characters, shapes, and motifs emerge, gradually forming a personal visual language.

 

Reading poetry has also become an important part of my process. Literature provides a way of accessing imagery from the subconscious and helps me develop a deeper emotional connection to the work. Occasionally words or phrases from poems find their way into the drawings, influencing both composition and atmosphere.

 

Through this approach, I explore drawing as an open, evolving process—one that begins with the tangible reality of the environment but allows space for imagination, intuition, and memory to shape the final result. In each piece, I seek to find a sense of harmony within chaos, inviting the viewer to engage with the work on an immediate, visceral, and emotional level.