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.






Oliver Payne & Nick Relph
exhibition catalogue designed with Oliver and Nick, Serpentine Gallery, London

I find it hard to collaborate, but I am always eager to try. I don’t like designers who never compromise—I like getting suggestions from others. Maki, a designer from Åbäke, told me the story of a difficult client who was very controlling of a project to design a poster: he wanted the title to be in bold, the e-mail address to be red, all the names to be bigger, and so on. I have never seen the finished poster, but I like the idea of it: an awkward hybrid of considered design with input and art direction from the client.

Working with Oliver and Nick was not exactly like that, but they did have some very specific ideas of what the exhibition catalog should look like. Being a fan of their films, I was open to forming the book as a collaboration, to result in something special that captured the essence and spontaneity of their practice.

The catalog’s many parts and details—London Transport fabric cover, a cell phone ringtone sound-chip, reproductions of rubber stamps, photographs, handwritten notes, a flip-book smiley face, German translations, essays, an interview, a selection of invited submissions, and input from the copublishers, Kunsthalle Zürich—combined with a very tight deadline and a tight budget, made it the most complex book I have ever designed, but now that it is completed, it looks like the simplest one.