Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
Pencil on Panel board
15 x 21 cm
2025
I have no formal art training and came to drawing through many years of making sculpture. I think that background still shapes the way I work: I am interested in form, weight, surface and the physical presence of the person I am drawing.
My practice moves between two quite different approaches. I make large charcoal portraits on paper, working directly and physically, often using my hands to smudge, soften and move the charcoal. I enjoy the unpredictability of the medium and allow accidental marks and mistakes to become part of the finished drawing.
Alongside these, I make much tighter pencil drawings on panel board. These are quieter and more controlled, built slowly through close observation and precise marks. I like the contrast between the restraint of these drawings and the freedom of the charcoal work.
Although the methods are different, both come from the same interest in looking closely at people. I am less concerned with producing a straightforward likeness than with finding something of the sitter’s presence — a small gesture, a glance, a moment of vulnerability or quietness that might otherwise go unnoticed.
Pencil on Panel board
15 x 21 cm
2025
I have no formal art training and came to drawing through many years of making sculpture. I think that background still shapes the way I work: I am interested in form, weight, surface and the physical presence of the person I am drawing.
My practice moves between two quite different approaches. I make large charcoal portraits on paper, working directly and physically, often using my hands to smudge, soften and move the charcoal. I enjoy the unpredictability of the medium and allow accidental marks and mistakes to become part of the finished drawing.
Alongside these, I make much tighter pencil drawings on panel board. These are quieter and more controlled, built slowly through close observation and precise marks. I like the contrast between the restraint of these drawings and the freedom of the charcoal work.
Although the methods are different, both come from the same interest in looking closely at people. I am less concerned with producing a straightforward likeness than with finding something of the sitter’s presence — a small gesture, a glance, a moment of vulnerability or quietness that might otherwise go unnoticed.