It’s possible to imagine reality as a pool of amber into which individuals are born and over time the hardening effect of this amber is to freeze or arrest people into ridged thought processes and deterministic practices. The Arrow of time guarantees that flesh and matter will disintegrate and people will die, which creates a sense of urgency and tension to problems that can often remain unexamined.

Creative process can address this and help people to experience the freedom of moving beyond the inherited positions and alternatives which constitute the motor of a congealing force. I am interested in change and the tension between the establishment of form and its breakdown, moments of flux, disruption and creation which often have a destructive or violent element. I’m drawn to figures who bring doubt and uncertainty who give form to change and becoming and the constant energy generated from the instinct to work against congealing forces.    


2009 MA Fine Art Painting, Wimbledon College of Art, London

2005 BA (Hons) Fine Art, Wimbledon College of Art, London

1998 Foundation diploma in Art & Design, South Tyneside College


2011 to Present: Lecturing in, Art History & Contextual Studies at Oaklands College

2011 Lecture given at Wimbledon College of Art, ‘What is socially engaged practice’

         Lecture given at Milton Keynes University Centre, ‘The Unconscious’

         Drawing workshop, Tutorials, Milton Keynes University Centre

         Artists Talk, South Tyneside College (Foundation Art and Design) 


2011 (Solo Show) ‘Who is that who is coming,’ Atrium Gallery, Milton Keynes

2010 (Group Show) Vicissitude, Kabin Gallery, London

         (Group Show) Drawing into Imagination, Milton Keynes University Centre

2009 Intersections, The Nunnery, London                                                                                                                   

        Approaches to what? The Nunnery, London 

Published Writing 


Debt, Housing, Creative Solutions: Construct the Future at Hoxton Gallery,' Trebuchet Magazine' & The Flaneur Magazine.

(Why) Nothing Ever Happens, Nothing Happens at All, 'Trebuchet Magazine' 

Caliban’s Rage at the Blank Touchscreen: On Becoming a 21st Century Savage, 'Trebuchet Magazine' & The Flaneur Magazine.

After the Revolution, Beyond the Randian Superhero. 'Trebuchet Magazine' & The Flaneur Magazine.

Why the Size of Trump’s Hands Matters: Deconstructing the Randian Superman, 'Trebuchet Magazine'

The Right Business: Politics and the Randian Hero, 'Trebuchet Magazine'

Stimulating the Simulcra. Can Humans be Trusted With Artificial Intelligence? 'Trebuchet Magazine'

I Can’t Do that, Dave. Artificial Intelligence, Dada and the Ethics of Perception, 'Trebuchet Magazine'

Sure we can, but SHOULD we? Digital Head and the Ethics of Intelligence, 'Trebuchet Magazine' & The Flaneur Magazine.

(Turk) (Must) (Do) (Better) A Critical Review of Wittgenstein’s Dream,'Trebuchet Magazine' & The Flaneur Magazine.

The Movements of the Idiot: Are We All Ironic Now? 'Trebuchet Magazine' & The Flaneur Magazine.


The Architecture of a Problem (Psychoanalysis and Creative Practice) 'Trebuchet Magazine' & The Flaneur Magazine.


The Kabin Contemporary Art Collection, London