Almost time for the big move... been a lovely studio this year I shall miss it!

Entering the Tomb, watecolour and crayon on paper, 2026 [CLICK FOR EXHIBITION PROPOSAL]

map of the valley of the kings, watercolour and crayon on paper, 2026

An Ode to the Great Grandfathers, oil on linen, 2026

paint tests

A new direction (work in progress) focused on the colonial history of my great, great grandfather in egypt and the attempts to become some other person in painting.

wandering theatre, ink on paper, 2025

thinking moving theatre, coloured pencil and ink on paper, 2026

walking theatre, watercolour on paper, 2026

Piece of Paper over a Tabletop Boardgame, oil on canvas, 2025

Walking Legs Black and White Long Exposure Film, digital film, 2026

Going for a walk as a stranger, aquatint, 2026

Chimneys and Towers with Beetle, aquatint, 2026

Chimneys and Towers with Beetle, hardground etching, 2026

Going for a walk as a stranger, hardground etching, 2026

Mum fake death mask, paper mache and wax, 2026

Darong fake death mask, paper mache and wax, 2026

Stranger fake death mask, paper mache and wax, 2026

Ok some-one stole my sketchbook, it was clipped to a drawing board outside the stow print room. It was an A3 sketchbook and had some sick drawings in that I never even photographed. I want it back!

Paper colour test for “Worries on my Desk” [as seen below]

Progress for Worries on my Desk, 2026

The bedroom studio, Christmas 2025/26

Mum on the top floor (her room), mixed media on mountboard, 2025

Jonah on the 1st floor (the cave wd fruit flys), mixed media on mountboard, 2025

Matty on the ground floor (batlling revision and essays), mixed media on mountboard, 2025

Dad in the basement (rip sawing), mixed media on mountboard, 2025

“You’ll never see that city again” - a line from William Kentridge’s Opera ‘Sybl’ that I totally feel upon leaving New York never again will it have the same people and be the same place which I was lucky enough to see. Fucking loved it.

New York Panorma, oil on canvas, 2025

Dorm Room Restless Nights, oil on canvas, 2025

Balcony View, oil on canvas, 2025

Central Park, oil on canvas, 2025

Eye of Salron Tower, oil on canvas, 2025

Place People Go to Fly, oil on canvas, 2025

Puppet Head Self Portrait (abandoned), plaster, wood, acryclic and wire, 2025

Appears above in the final painting of the New York Panorama series “Place People go to Fly”.

Theodora Click Here for puppets and peformance work!!!

Cave of Half Remembered Dreams (sorry Werner Herzog), Shadow Puppetry, 2025

Life Mask on the Town, oil on canvas and plaster, 2025

Life Mask inset into Landscape, oil on canvas and plaster, 2025

David Life Mask, oil on canvas and plaster, 2025

Crow, film with shadow puppetry, 2025

Colour Composition 3 (diner), oil on paper, 2025

Colour Composition 1 (cave), oil on paper, 2025

Colour Composition 2 (landscape), oil on paper, 2025

Colour Guache Collage Composition set 1

Colour Guache Collage Composition set 2

The Duke of Fragments and the Guard of Fragments, assorted meduims on paper, roughly 1.5X1.2 m, 2025

The Guard of Fragments, assorted meduims on paper, roughly 1.5X1.2 m, 2025

The Duke of Fragments [detail], assorted meduims on paper, roughly 1.5X1.2 m, 2025

The Duke of Fragments, assorted meduims on paper, roughly 1.5X1.2 m, 2025

Process shot of Wandering Studio, reclaimed wood and chair, roughly 1X1 m, 2025

These are paper people, the first use of the portable studio (seen in use above). I made the studio in response to the lack of a personal studio space being available here at pratt. Studio had always been fundamental to my artistic practice even in sixth form when I would create the bulk of my work outside of classroom in a studio I had made in my bedroom! I discovered using the portable studio that the balance of input and output was completley thrown off suddenly i was walking around inputting from the sights and smells of the street and outputting using the drawing board in front of me at the very same time! This had the effect of tunneling my attention - I could only latch onto the ‘details’ of the world aroubd me - the texture of a wall, a strangers face, the way a branch seems to melt in the wind. I then took these traces back to the classroom and tried to construct my understanding of people out of them. In a way i think this is what I am constantly doing anyway trying to guess at who people are based off traces of their clothes, their face and the architecture around them.

Mask making process shot, digtal photography, 2025

Many casts of faces - made with plaster of paris - are appearing all in pursuit of the elusive life mask I aim to create.

A short Puppet show, written, designed and performed in the pub (or the american bar equivalent in the east village) by the two and a half months to go collective.

Dumbo Market - too expensive to buy cheap enough to draw, ink, watercolour and pastel on paper, 42X59.4 cm, 2025

Click Image for raw PDF of sketchbook keeping of New York Month 1

Work made for one of my shiny new classes (such a different system from home) focused on colour in painting. And this thing is kicking my ass, I gotta face up to so many bits of painting I hadn’t realised I’d been scared of before now. The best example being to just put colour on canvas without a gimmick - like before now I would always have a 3D or unexpected elemnt that the *viewer* can at least say oh that’s clever to. That’s the other thing I always hold the critic/viewer inside me while I make, it don’t belong in that space I gotta just purely pursue my own interests and pleasure and fears while at the easel analyise afterward and be self critical not objective critical.

A stranger appears, digital photography, 2025

Please be careful around your city at the moment - there are uncanny and dubious folks a lurking - distinguished by their hands sporting only three fingers...

The Virginity Demon simmers, chalk and oil pastel on toned paper, 29.7X42 cm, 2025

Made just before the new city

It was whole I arrive in this city. It’s fractured I hope to leave it. For i hope to feel to live and to fail while here. because if not here, then where? (view from my room and hedonistic teenage philosophy thoughts)

Shu being whispered to by his Virginty Demon, oil on board, roughly 25x45 cm, 2025

Shu being whispered to by his Virginty Demon [detail], oil on board, roughly 25x45 cm, 2025

Based off some old egyptian story I’ll have to check which one it was... involved a guy called Ra with mother issues.

I was feeling majorly down on this last period of my work, but looking back even though i’ve been a bit lost and confused, swinging from concept to technique to feeling an odly cohesive and interesting body of work has formed. And some very clear lines of enquiry have been sustained throughout... I know where I must take it from here. (but also its at a point it can be left to start afresh in Brooklyn) 24th august 2025

I think this is as far as I take this painting. I’ve been very slowly poking it for over half a year now and I just have to accept it and move on. I’m done, ready to paint more instinctively I can only hope.

Look at this duuude

Modern wayfaring consists of the faces one meets on the road becoming part of the landscape, as austere and unreadable as mounds, potholes and trunks. Here the heads fall into the crevice of the land with its new horizon line (the double yellow lines at the side of the road).

Aquatint on wye valley etching.

The painting/minature instilation based off the modern wayfaring of the NX 40 bus between bristol and london.

This guy was made directly before leaving glasgow the most clear cut version of a virginity demon I have. A couple of image works now feature this specific demon too.

I’ve been drawing every friend who comes through my bedroom studio for long enough to be captured. They are of no relation to the skull like heads below...

Strange totem like head, recently discovered by the artist. What is simply incredible about them is upon carbon dating they were found to be over 60,000 years old making them the oldest record of human civilisation to date. (found on the road)

On the 12th of July 2025 in Bolsena, Italy, a minor upheaval occured in the square next to the towns historic Santa Christina church. A strange man had walked in by way of the old Pilgrims route, a stranger to the land, but then again he seemed a stranger to all lands. He perhaps came from another time, and seemed somewhat disgruntled by the present. Still he was nice enough and was observed to say ‘Bon Jorno’ to all he passed. Some field recordings were found of his journey...

The drawing that best captures the feeling of the campsite by Lake Bolsena, Italy.

The complete portfolio of drawings from a weeks camping at lake Bolsena, Italy. This includes the good, the bad and the ugly and provide something of a glimpse into how I try to understand things when ploncked into a new place. The campsite was about 1.5 km away from the Via Francigena - one of the oldest known pilgramidge routes. It runs from Cantebury, England to Rome, Italy and was first recorded being walked through the writings of the bishop Cergirac who walked it in 900 AD. I have a personal connection to this route already having walked the first couple of hundred km last easter - it represents the all too rareified ancinet uses of the roads. To walk the paths that make it up provide a glimpse at how travelling through the land once was. 15th august 2025

Purely imaginative memoery drawing, getting lost and hot and sweaty at the awkwardness or moral ambiguity of the memory. This is two years ago - Interailling with a friend from sixth form of whom I emiediatly fell out of contact with upon starting Art School. She is sat across the table from the viewer with frizzy hair. Our main disagreement was I suppose mystacism - i think she came away with the distinct feeling I might lead a cult in my future.

Wandering Lance Free figure, of my marrionette sculptures often made to physically place a specific demon or creature I find clung to myself or another soul.

This painting is drawing close to completion, and looks somewhat different now to how it’s pictured here. The sticking point is the candlestick - without it the work appears more 3 dimesnional to my eye. It has to be removed but how to do so? Either painting it out with a study of one of my marrionette sculptures or creating a patch.

Self Portrait as a KP

The painting, completed as of the 5th of may 2025, made for the charity Nourish Scotland in the hopes of bringing about the implementation of government funded resteraunts in the country.

Transporting the Mural painting to it’s unveiling venue. Thanks to Charllotte for the help with painting and Nina for the help with the design.

A rejected design for the Charity painting by myself and Nina. It was seen as too heirachal, and serious verging for the charity on political.

MUM DONT WATCH YET-{ Filo Acantilado }- By Barnaby Wessell and Chamaco Chamoco MUM DONT WATCH YET

Illustration for an article in the new Glasgow based magazine potentially called the clyde collective but with naming still in progress. The drawing is for an article on Annawadi, a slum below the aiport in Mumbai. Since I drew this the terrible news of the Plane crash in india has broken. I van only think of the families of those poor souls who lost their lives.

Linework for a new etching, aquatint hopefully coming before february next year.

Illustration for Glasgow university Magazine summer 2025 issue. This will be my last Illustration for them in all likelihood, I’ve never felt my work has been particually well treated in the magazine and I would like to have more power over the final visual look. I am happy with this drawing though.

Photos from the performance, I’ve started editing together the video...

A sketchbook page I was thinking of submitting to a drawing open call a friend sent to me but got cold feet at the last moment. It’s styled as a map inspired by recent curiosity walks i’ve been taking through the west end of Glasgow.

BEHIND THE SCENES VIDEO FOR PERFORMANCE PIECE: *Magical link Button*

The Lamp was my submission to the end of second year show at the Glasgow school of art. It was a way to display the large number of drawings I’d done that semester in a new way. Making them part of an artefact. A mystery for the viewer to untangle - to imagine a story from.

Faces of the lamp