A Landscape for Drones 5 (detail, 2013)

Oils and pencil on prepared paper.

A Landscape for Drones 2 (detail, 2013)

Oils and pencil on prepared paper.

A Landscape for Drones 7 (detail, 2013)

Oils and pencil on prepared paper.

The Quarry at Saltram, painted by JMW Turner in 1813, as if viewed from the air.

Oils and pencil on prepared paper.

The Quarry at Saltram, painted by JMW Turner in 1813, as if viewed from the air. Installation shot, Galerie des petits carreaux, Paris April 2014

Oils and pencil on prepared paper.

Landscape Study (2013) Oil paint and pencil on prepared paper

Private Collection, London

A Fiction (2013). Oil on canvas, each panel 45cm x 60cm, overall dimensions and sequencing variable.

'A Fiction' presents the same location, imagined over an unspecified period of time sufficiently long that geological changes begin to be discerned. Four of the pieces in the sequence imagine successive returns to the same place at the same time of year. Changes in the vegetation and the rocks can be seen. One piece, however, depicts a night scene. The shortness of the sequence makes establishing a successive chronology difficult. However, at some point, some event has occurred at night. A strange cold light illuminates the sky above the horizon, and there are traces of human presence: lights can be seen on the stony track some distance away, whilst on the gravel bank a small campfire burns. However, because of the darkness, it is impossible to ascertain when in the sequence this event occurred, since the details of rocks and vegetation is obscured. This sequence can be exhibited in a strip, cluster or in a manner to suggest an incomplete grid.

Collection of the artist.

A Fiction, detail (2013)

A Fiction presents the same location imagined over an unspecified period of time sufficiently long that geological changes begin to be discerned. Four of the pieces in the sequence imagine successive returns to the same place at the same time of year. Changes in the vegetation and the rocks can be seen. One piece, however, depicts a night scene. The shortness of the sequence makes establishing a successive chronology difficult. However, at some point, some event has occurred at night. A strange cold light illuminates the sky above the horizon, and there are traces of human presence: lights can be seen on the stony track some distance away, whilst on the gravel bank a small campfire burns. However, because of the darkness, it is impossible to ascertain when in this sequence the event occurred, since the details of rocks and vegetation is obscured. This sequence could be exhibited in a strip, cluster or in a manner to suggest an incomplete grid.

A Repetitive False memory (2012)

Oil on canvas.

Four panels, each 45cm x 60cm.

An attempt to paint an unplaceable and unresolveable recurrent mental image.

Collection of the artist.

A Repetitive False Memory (quad formation) 2012

Oil on canvas.

Four panels each 45cm x 60cm.

Artist’s Impression: Menzel’s Empire (2010)

Pencil and inkjet print on Hahnemuhle paper.

29cm x 42 cm.

Collection of the artist.

After London: Three views of the Thames (2010) Installation photograph, Stephen Lawrence  Gallery, Greenwich, March 2011.

Inkjet photographic print painted over with acrylic paint.

Three of five montage pieces made for the exhibition After London, at the Stephen Lawrence Gallery, Greenwich in March 2011. The concept for the exhibition arose from a conversation and subsequent collaboration with the art historian Dr Joy Sleeman about the one time Greenwich based C19th apocalyptic fiction writer, Richard Jefferies, and his novel After London.

The images were intended to present more ambiguous visual signs and inferences than that found in the CGI imagery of Hollywood disaster movies.

The work was subsequently shown at One Day in the City at UCL in the Summer of 2012.