Tone, not line.

Charcoal, graphite, paint and cut paper. The studio half of the practice.

The eraser does as much work as the stick.

The drawings are built the way a photograph develops — the darkest masses first, then the light lifted back out with a kneaded eraser until the form arrives. Nothing is outlined. Edges happen where two tones stop agreeing.

Portraits and figure studies mostly, with still life when the light is worth it. Some pieces stay in graphite; some go to paint; some end up cut apart and reassembled as collage.

Drawing

Charcoal portrait of a young woman, head and shoulders, worked in soft tone against a warm ground.

Charcoal figure study of a seated woman, her hair drawn as a dark halo of loose marks.

Charcoal still life: a curved metal form and a coiled wire resting on heavily patterned cloth.

Charcoal interior, a dark room opening onto a lit doorway with a figure beyond it.

Charcoal study of a curved organic form and a hooked shape emerging from deep shadow.

Light graphite study of a seated figure, drawn mostly in contour with minimal shading.

Graphite study of a reclining head, the face turned upward, drawn in fine line.

Graphite study of pointed pod-like forms, drawn with sharp contour and smooth interior tone.

Painting and collage

Charcoal architectural study of arches and a stair, built from angular planes of light and shadow.

Cubist-style poster on a cream ground, faceted figures in ochre, rust and deep brown, signed below.

Abstract painting in rust and warm brown, heavily textured, with a small dark void near the centre.

Abstract painting in deep green and gold, the surface flecked and worked like weathered metal.

Abstract painting, a square field of mottled red and grey worked into a dense grain.

Drawing is the part that keeps the design honest.

Commissions and prints.

Portrait commissions and available original work — ask what is in the studio.

Get in touch