Welcome. I am a British artist based in Sanremo, Italy. My work is driven by a conflict between witnessing, institutional memory, and systematised recording, and by what fails to settle between them. I make paintings that bring these forces into the same conceptual space, so their frictions remain visible rather than resolved.

My practice moves between three formats. First are large-scale abstract canvases in acrylic and drawing materials, where colour, structure, and surface operate as a kind of attentional choreography. These paintings do not illustrate events. They organise how an event is held, filed, looped, or refused. Themes of conflict, technological ambition, and environmental damage recur, not as subject matter to be depicted, but as pressures that shape the way the work is built and encountered.

Second are research-driven trompe-l’œil panels, often titled Postcard from …. These Painted Histories reconstruct archival fragments—maps, notices, postcards, documents—in paint. Everything is made in acrylic and ink, meticulously rendered to appear as physical artefacts. Each panel becomes a compact inquiry into how narratives are framed, commemorated, sanitised, or rewritten, and into the authority that accrues when a document looks official.

Third are hybrid works that incorporate embedded video screens, which I call “pixies”. These moving inserts introduce the logic of recording systems into the painted surface: capture, display, circulation, repetition. The pixie is not an illustration of the painting. It operates as a competing regime of attention, asking what it means to “see” when seeing is mediated, and how responsibility shifts when an experience becomes data.

Alongside these works, I have developed a long-duration conceptual postal project, Great British Cover-Ups, which uses commemorative stamps and the postal system to examine public memory and institutional silence. It treats official commemoration as both evidence and mechanism: what is selected, what is omitted, and what is made to look settled.

Across all of my work, I aim to create spaces where viewers can encounter the beauty, the damage, the evidence, and the gaps—without easy closure.