About

I am both a Frontend Developer and an Oil Painter. This site is divided into two zones. If you're seeing blue, you're in the Painting zone. If things are looking grey and orange, you're in the Frontend zone.

Short biography

I was born in Brighton, UK in 1987 and studied Fine Art at Central Saint Martin's in London from 2007-2010. I welcome any enquiries about my work via email.

I have lived in South Korea and Spain, working as an English Teacher.

I am currently working on the skills for a new career in front-end web development, and have returned to the UK.

Artistic inspiration

"I am fascinated by the magical power of paint to transform ephemeral imagery into something disturbing, elevated or ethereal."

I make paintings from images that might usually be viewed only in the flicker of an eye. My found source imagery could come from news articles or Wiki Commons. Themes have included crises and conflicts in the Middle-east and Afghanistan, and dangerous or endangered megafauna.

I use monochromatic colour schemes to encourage a sense of filtering. Technology can be used to filter our view of the world and its events. Sometimes, before painting, I pixelate source imagery using a computer. In 'Retry?' there is a mouse egg-timer icon. This implicates the viewer as if they had just executed a command to a computer.

I also want to reduce the focus on the representational subject by using simplified colour palettes. We usually view collective danger from a safe distance, and our experience of it comes through filtered mediums. I use non-representational colours and employ brushwork that sharpens some details while allowing others to blur and merge. I want to tease the concept of a photograph as truth.

My painting strategy draws on influences from the German painter Gerhard Richter, 19th century Impressionism, and to a lesser extent Luc Tuymans. I am inspired by Gerhard Richter's works which appear to be photorealistic, but on closer inspection begin to break up and melt. In works of mine like 'Blue' I use this effect so that the subject might not be immediately recognisable.