I create bold, semi‑abstract paintings that arise from visceral, sensory encounters with the world around me. It’s instinct-led, transfigurative art at the opposite end of the spectrum to AI.

Each work begins with a fleeting flash of “startled fascination”: a gnarled tree bark, a seed head glinting like steel under the sun, water rippling over a metal sink. Those moments create a hunger to explore texture, form, and light, a hunger amplified by my recent treatment for complex PTSD, which has sharpened my sensitivity to the visual/emotional charge of everyday objects.

I extract essential parts from these catalysts through sketching, photography, and digital documentation. I then re‑assemble the elements into medium‑ to large‑scale compositions designed for rag paper or canvas—up to 150 cm—employing layering, duplication, blend modes, and fractal work. The resulting high resolution digital files are printed as archival‑quality single and limited editions at a Hahnemüller platinum studio in Kent.

Although open to personal interpretation, my work is rooted in the sweet fragility of life, growth, and transformation. I weave references to folk art, fantastical landscapes, and imagined realms into some, and often play with perspective, masking, and negative space. Rough hand‑drawn lines sit beside crisp vector forms, setting up a dialogue between the organic and the precise.

Why ‘transfigurative’?

I describe this practice as transfigurative art—a distillation of resilience, beauty, and renewal drawn from daily experience. It offers a human‑centered counter‑narrative to AI‑generated imagery, celebrating perception, emotion, and the human spirit as the true engines of artistic creation.