Current Commission – Work in progress

I’m currently working on a private commission for a house in the town of Burford. The brief was to devise a work that responded to the local life/history of the town. The research turned up some interesting historical facts, ranging from links to Cromwell and the Levellers to a famous art collection but the one that really attracted me was that the town is believed to be the location that CharlesII met with his mistress Nell Gwyn and he subsequently named their first born the Duke of Burford. It is at a very early stage, but here are some preparatory sketches inspired by portraits of these historical figures.

KF Collection

An old commission but one that I am fond off. This is a screen print designed for the KF Collection.


The piece is a transcription of Catherine the Great, After Alexander Roslin, an C18th painting in the collection. Taking an interest in how authenticity can be so changeable, (the work had been listed as both by and after in Christies catalogues from varying decades) I researched images of the work that was believed to be the original and made a series of ‘variable’ screen prints. Although a series of 10, they all differ slightly and may even go unnoticed by a less observant eye. The piece subtly questioned the relationship between an original and a copy.


Top image, Catherine, Variable Screen Print, 1/10, acrylic on paper, 2010
Bottom image, in situ Kardo-Findlate Collection, London 2010

Without Walls: Chisenahle Collaborative Commission

Saturday 24th November, Victor and I presented our collaborative works to the public. The work was made of 2 parts – A video piece projected into pigmented surface and a collage of diaristic images reflecting our dialogue with surface, trace and body during the collaboration. 

For Without Walls Chisenhale Art Place throws open its doors and breaks through the walls of its iconic building, crossing spaces and joining the Dance Space, Gallery and Studios through collaborative acts, talk and debates. The day ended with a panel discussion with the artists and French Mottershead, New Art Club, Anthony Roberts (Colchester Art Centre, Escalator) & Micheal Keenan (Studio 1.1) 

Week 2: Chisenahle Collaborative Commision

We spent a several days discussing space and devising installations that could create 3dimensional sensation of space on a 2dimensional platform. Using the OHP and digital projector we playfully arranged materials to create layered and textured imagined environments. Our discussions expanded to the role of Choreographer, with us each taking turns to direct movement, light and surface.

Week 1: Chisenhale Collaboration Commission

First day of the experimental collaboration with Victor Fung. Without an end goal in sight, we embarked on an organic series of experiments. Starting with a movement session (an enlightening experience for me, as it developed an awaress of my body and its relationship to space). In response to the session, I suggested including pigment to capture the movements and create layered imprints of the body.

Acrylic and Graphite on paper

Exploring multiple avenues, the day opened us both to new ways of thinking. Through discussions of material and the body, we investigated: Trace, Absence and Presence. Using studio studio materials that include Traditional Gesso, Graphite, and aluminium, we played with light sources and the body to create permanent and temporal paintings/ drawings as well as performances.
graphite on gesso


Without Walls

 I am currently working on a collaborative work for Chisenhale Art Place’s ‘Without Walls’. I am very excited to be working with choreographer and dancer Victor Fong on this project. The piece is in early stages, but I will keep the blog updated with pictures of the piece in progress soon.

Chisenhale Art Place

In Company

August has been a very busy month for me as I have been working on my largest painting to date. ‘In Company’ was commissioned by Conran Partners and D&D London for the Old Bengal Bar in central London. The painting reflects on the history of the warehouse, a nod to its construction by the East India Company. The warehouse was immortalised in a poem by John Masefield that described it as holding ‘the wealth of the world and London’s power.’ The work depicts two officers, without prescribing a specific identity to either, I wanted to evoke a sense of the two cultures. The figures reference C18th portraiture in particular the works of Tilly Kettle. The palette of turquoise, fusia and copper was chosen to contrast the traditional pose of military figures and capture an imagined sense of history and adventure in an exotic land.

Hoxton Art Gallery installing the painting