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
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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