About & Contact

About me

I'm a self-taught printmaker and painter with a passion for the natural world. My work celebrates native British wildlife and is an ode both to the beautiful Kentish countryside I grew up in and the ancient Wiltshire environment I find myself in now.

I believe in quality over quantity. I typically release small runs of limited-edition prints that showcase the tactile medium and process of relief printmaking. While every editioned run is consistent, each print is a unique handcrafted piece of art. I embrace makers marks, wonky registration and other "imperfections" as things of beauty. The natural world isn't a neat and tidy place and my art reflects that.

I accept private commissions, so if you would like to discuss a project, please do get in touch.

My story

I grew up in the beautiful Kent countryside, surrounded by animals both wild and domestic. My memories of that time are of big family Sunday lunches, long walks through bluebell woods and rolling hills studded with drowsy oast houses. Being both arty and sciencey, I couldn't work out if I wanted to be an artist, a palaeontologist or a conservationist when I grew up (so naturally I ended up doing none of those things!)

Tragically, we lost my beloved Mum when I was only 10 and that (along with a lot of other challenges in the years that followed) affected me deeply. I often turned to art and to Mother Nature for comfort and inspiration. I wasn't good at much in school, but I could draw and paint, so that gave me a sense of purpose. I studied fine art and graphic design at A-level before studying 3D design at university with a focus on sculpture and product design.

Like many, I had big hopes and dreams after graduating, but faced with the practicalities of survival, I ended up rather "drifting" as a commercial digital artist / motion graphics designer in my 20's and early 30's, mostly working any design jobs I could get to pay the bills (when the jobs paid anything at all). I did 5:30 am starts, 3-hour commutes and late night wrap-ups for corporate events, often for clients who thought it was perfectly fine to hurl verbal abuse at me just because "they were paying my wages". My career revolved around London too, which is an amazing city but is just too big and urban for my spirit to thrive in for any length of time.

Mercifully, over the next 10 years or so I increasingly produced digital content for better clients and employers including museums, publishers and government agencies, so I was gradually able to leave the private sector corporate world behind me. I gradually moved up the ladder into more stable project management roles, which increasingly involved no creative skills at all but still didn't leave much bandwidth for making the kind of art that I really wanted to make.

After so many years of long commutes, hours sat in front of computer screens and feeling creatively stifled, soon after turning 40 I realised I'd just about had enough. I needed a reset.

So I recently took a step back, reoriented my internal compass, and picked up my analogue materials to start creating art the way I want to. Nowadays I make work to fit my own brief, not a corporate client's. I'm much happier in myself and more likely to be found hand-printing linocut art, drawing and painting from the comfort of my own home.

Local inspiration

I relocated from the beautiful city of Canterbury, Kent to a small town in Wiltshire in 2024 with my partner and our lucky black cat, Tolly (the real brains behind this operation).

Wiltshire is a mystical county filled with bronze-age earthworks, white horses carved into the hills and ancient circles of standing stones. I'm a deeply spiritual person and I have enjoyed a renaissance in my art since moving here, fuelled by suddenly finding myself inspired by the natural beauty and ancient energy of my new surroundings.

Whilst I try to capture the beauty and fragility of rural England in my work, I also try to turn a mirror on our modern society, which romanticises the countryside on the one hand but exploits it, degrades it and abuses it on the other; from walkers who "escape" to the countryside only to leave litter and dog mess everywhere to industrial-scale non-traditional farming (driven not by farmers but by supermarkets and successive post-war governments of all colours) and ugly "affordable" housing developments that people in rural communities can never hope to afford.

My art

Having studied drawing and painting up to A-level and 3D design at university, I only found linocut printing in 2024 at the grand old age of 41. Linocut is perfect for me, as it encompasses both 2D and 3D art; through drawing, carving and the process of printing the finished products. Every design is a story that unfurls with each stage and evolves into a unique and surprising product. It also democratises fine art by making handmade artworks reproducible; making them accessible to a wider range of buyers.

I still produce a small number of paintings on canvas though, as paint enables me to capture the full range of colours, forms and textures in nature in a way that no other media can.

Art arguably has always been an act of rebellion. And for me, handmade traditional art today is a revolutionary act against an increasingly mechanised and de-humanised world. I am an out-and-proud luddite: I abhor the way automation has long been hailed as a force for good that will make everyone's lives better when it only ever really enriches a small number of already wealthy individuals and robs ordinary workers of their jobs (all the while doing nothing to replace them). As A.I. increasingly encroaches on the arts, continuing to make physical artworks proclaims the power of human creativity.

Every time I make a new piece of art, I am making my own silent statement that affirms my own humanity and that of those who enjoy it. That is why I embrace all the tactile imperfections in linocut printing: the "chatter" of raised lines that pick up stray ink, varying textures in uneven ink coverage and slightly wonky registration are traditionally all things that printers avoid, but I embrace them as vital elements in my work.

Similarly, my paintings incorporate impasto techniques and different paint mediums to create raised details and textured areas; so each of my paintings is a three-dimensional piece of relief art. I sign my paintings on the side of the canvas to accentuate the 3D nature of the work. This also allows the artist to "get out of the way" of the work itself. These details do not translate to digital prints and record the presence and intention of a human hand.

Education and Qualifications

I graduated from the University of Hertfordshire with a 1st class Ba in Model design in 2004 and an Ma in 2007.

I recently returned to uni to achieve my lifelong dream of training to be a palaeontologist (well, sort of). Studying part-time alongside my full-time job, I graduated from the University of Birkbeck in 2024 with a 1st class Bsc in Earth Sciences. I'm proud to say that my final major project even won an undergraduate award from the Palaeontological Association.

If you would like to contact me about my products, private commissions or if you have any other questions, please use the contact form on this page. I aim to respond to all enquiries within 3 working days.