Works on paper sit within a drawing-score ecology: each piece is a score and a collected research object. They map conceptual questions through diagram, notation and system, and can be activated as installation or performance. The paper work stands as a complete artwork in its own right while also functioning as a tool for thinking, testing and recording.Some series operate as movement studies, abstracting sequences of actions into visual systems. These drawings trace body-space relations, rhythms and constraints, turning observation and experimentation into score-forms that invite re-reading, re-staging and further research.
works on paper
Big Toe series
A4 graphite on watercolour paper
The Big Toe series treats the body’s most ignored extremity as a note-taking instrument, using sight and skin to score spaces with dirty clarity and intimate precision.
In the spirit of Bataille’s Big Toe and his vision of excess and the formless, these drawings let lowly anatomy drag vision downward, where meaning leaks, smears, and refuses to stand up straight.
A4 Graphite on watercolour paper
Heel Toe shifts the mark from point to drag: the body writes with its weight, heel-first then toe, turning walking into a blunt notation of space.
In a Bataillean mood of excess and the formless, the drawing refuses upright clarity, letting smear, scuff, and pressure map what vision can’t hold.
A4 Graphite on watercolour paper
Big Toe II tightens the ritual: repeated contact, pressure, and tracing turn the toe into a stubborn compass, mapping the room through friction, weight, and small acts of insistence.
Where the first drops vision downward, the second stays there, working the formless like a bruise or a footprint, letting excess accumulate until the space is not described but physically remembered.
Graphite and Ink on 240gm paper, 42×29.7cms
water moteur (developed through Drawing with Water for the UK Drawing Correspondence Residency) is a drawing practice that treats water not as a subject to depict, but as an active instrument that generates its own marks, rhythms, and decisions.
Working in graphite and ink, I read the glare, shadows and eddies as pulses and repeating behaviours to translate them into a notation system for water.
“Motor” functions as both engine and motive force. The work proposes water as a kind of choreographer, with your notations acting like a score that maps temporal changes and intensities. In this way, water moteur sits between observation and invention: part field study, part score-making, part translation.
Graphite and ink on watercolour paper, 9 × 12cms
water moteur (ii) extends my Drawing with Water research from the UK Drawing Correspondence Residency into a more specific, steady pulse: the horizon line in flux, measured against the meniscus of water as a constant rhythm.
Working in graphite and ink, I tracked how the horizon refuses to behave like a fixed boundary. It tilts, slips, thickens, thins, dissolves, reappears, not only because of viewpoint and motion, but because water itself is always negotiating its edge. Against this shifting register, the meniscus becomes a metronome: a repeating persistent arc that holds time.
In this work, the horizon is treated less as a line “out there” and more as a moving condition, continuously recalibrated by the water’s surface. A notation system evolves into a scored observation of micro-level surface behaviour. water moteur (ii) is, in effect, a drawing practice of thresholds.
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