My specialism is lateral thinking, resolving the complexity encountered in the world with reductive poetic logic. I intertwine commercial and cultural practice: responding to the paradox of daily life and the complexities of project assignments. I seek focused solutions that feel inevitable. I get there by starting at the beginning, asking why, what if… then making sense of the things I find with radical acceptance and by embracing truth.

Please follow me on Instagram. I am reposting works, exploring the things I have made over the past twenty years in preparation for the next twenty years.

Reflectometric, 2019
210mm x 297 A4 glass clip frame, acrylic paint
Edition of 60 signed and numbered copies, each unique

The clip frame backing board is marked in pencil, mapping geometric shapes and proportions relational to its dimensions and the four slot apertures. Colours are emotiomaticaly selected and combined, in rhythm to the mantra internalised, and applied at the intersection of lines. The final composition grows from the weight of the glass and the gentle squeeze exerted by the frames clips, spreading and connecting colours between the two surfaces. Made to be displayed in transitional spaces, to remind the viewer to be fully present.

Note on viewing: Each painting is its own universe, select one. Breathe slowly and deeply whilst observing the painting. Gradually let your gaze go out of focus. Meditate on the centre of the painting, allowing its geometry to bring your mind to a state of balance.






Premature Retrospective
Design Museum, London

In 2001 my former studio, Foundation 33, was invited by London’s Design Museum to take part in a group show called Design Now—London. Each of the four exhibitors was assigned one of four large glass vitrines on the museum’s top floor to display work. It was the first show instigated by Alice Rawsthorn, the museum’s new director, and the first time the museum removed its old, crumbling permanent collection in favour of contemporary work.

At that time Foundation 33 had existed for only one and a bit years, so I called the show a Premature Retrospective 1999–2001 and exhibited all of my Royal College of Art projects, much of the Walker Art Center work, and the Multi Ply furniture made in collaboration with Sam Solhaug.

The exhibit consisted of two components: the glass vitrine in which all printed material was presented horizontally, conceptually echoing the 10.2 Multi Ply Coffee Table’s reorientation of plywood; and a platform with undulating heights that elevated the top surfaces of the Multi Ply tables to correspond with the glass vitrine’s horizontal surface.

Plan
Side