‘Drawing is a process of observation and expression, receiving and giving, at the same time. It is always a result of yet another kind of double perspective; a drawing looks simultaneously outwards and inwards, the observed or imagined world, and into the draughtsman’s own persona and mental world. Each sketch and drawing contains a part of the maker and his / her mental world, at the same time it represents an object or vista in the real world, or in an imagined universe. Every drawing is also an excavation into the drawer’s past and memory. John Berger describes this seminal merging of the object and the drawer him/herself: ‘It is the actual act of drawing that forces the artist to look at the object in front of him, to dissect it in his mind’s eye and put it together again; or, if he is drawing from memory, that forces him to dredge his own mind, to discover the content of his own store of past observations’.

Pallasmaa, Juhani (2009). ‘The Drawing Hand’, in “The Thinking Hand”. Chichester: Wiley, pp 91-



Winter 2018 / Spring 2019

Drawing pen on parchment paper and tracing paper.

Dimensions variable, smallest W: 297mm x H: 420mm (A3)

A series of drawings inspired by a 1960’s record photograph of terraced buildings on Wakefield Road, Huddersfield.


Summer 2017 / Summer 2018

Final works: drawings (paper hangings) – drawing pen and gouache on parchment paper with thread, dowel and ribbon.

Each: W: 440mm x H: 560mm

Work in progress: drawing pen on tracing paper.

Each: W: 297mm x H: 420mm (A3)

A series of drawings inspired by a photograph in the archives of the I.W.M. In collaboration with Simon King, PhD candidate at Birkbeck, London. 

At the centre of each of four parchment sheets sits the tracing of a wartime photograph - a breakfast scene in the ruins of a bombed-out school on Sayer Street, London, SE1. Employing an ad-hoc process of folding / retracing, a new design emerges around the plot of the foundation. Here and there, colours echo the shading of another set of archival plans - London County Council bomb damage maps, 1939-1944. The drawings drop from dowel and ribbon not unlike instructional diagrams or educational charts. They are studies of a suspended moment in time on Sayer Street, and what further lines of enquiry might arise from its investigation.


Autumn 2017

Temporary collages. Drawing pen and gouache on tracing paper.

Drawings: W: 297mm x H: 420mm (A3)

A series of six drawings inspired by temporary assemblages of cut-up postcards (artworks by Lancashire born artist L.S.Lowry). Photographed in black and white (perhaps like miniature 'record photographs') these card structures form the basis for each drawing. By a series of folds, tracings and re-tracings, an unexpected, mirror-like pattern grows around the page. Selected areas are painted in golden gouache on the reverse.


Summer 2017

Oil pastel rubbing over embroidery on Japanese paper or banana tissue.  

Variable sizes, approx: W: 297mm x H: 420mm

Outlines traced from photographs of chimneys provide the inspiration for this series. Using hand sewing and frottage, threaded lines (of thick silk cord or embroidery cotton) are transferred via oil pastel to textured paper. Some drawings are composed from a number of sewn 'component' cards, others from a single piece.


Autumn 2015 / Spring 2017

Oil pastel rubbing over embroidery on Japanese paper or banana tissue.  

Variable sizes, approx: W: 297mm x H: 420mm

Taking a series of photographs in a book about homespun dolls as their inspiration, this series of works employs hand sewing and frottage to transfer line to textured paper. The series comprises a bookwork, wall hanging, and a selection of individual drawings.


Autumn 2015 / Spring 2016

Collaged printed papers. Drawing pen on paper and tracing paper.

Various sizes: A5 - A2

Fictional scenes featuring apparently ancient architecture are pieced together from pictorial elements of a guide book to the county of Suffolk. Drawing from these surreal collages, line drawings chart the fabricated structures. By folding and retracing, a fractured pattern expands around the paper. Each drawing is then dismantled along the lines of the folds, then re-organised and re-traced onto a larger sheet, lending the lines more space and the echoes of a technical or engineer's worksheet.


Spring 2014

Painted collages (glass paint on acetate) mounted as a bookwork. Ink drawings on paper.

Collages approx: A5. Drawings approx: A4 or A3

A series of collages and drawings created by the iterative assembly and rearrangement of components lifted from outlines of architectural details. In Rehousing the source of components is American artist Les Levine's *House*(1971), a book of photographs documenting a dwelling in various stages of decline. After tracing the outlines of shapes and shadows within the photographs, these are transferred to acetate and cut up into a 'kit' of pieces which were arranged and rearranged many times over to create a series of silhouette-like shapes: buildings, yet also not-buildings. on SquareSpace -->