Drawing of both ‘Boughcliff’ the old home of my paternal grandparents and the lovely folks of Glasgow at a dinner party in our flat on Sauchiehall street, pencil on paper

Casting takes long

Been painting loads at the start of this semester.

Screenshots from the free 3d software Blender. I’ve been using it to construct stage set like spaces with drawings I made in the studio.

Exhibition Booklet

The film that played at ‘Tomb Maps’ played while I deinstall the show.

LAB LAB LAB

I start making a digital tomb map in blender, thanks for teaching it to me Julian - you the coolest!

Animation frames from an ancinet egyptian sarcophagus head at the burrel coolection, drawn on site in my ledger sketchbook directly from the artefact.

Thinking about playing pieces and these objects in museums I start to animate from them.

Further mono prints, starting to experiment with the forms of the tetra packs also being included, sometimes run through the press after, sometimes at the same time.

these hands, monoprint on paper, 2026

A second wave of tetra pack prints. The idea i took forwards from the first lot was cutting the plates to be in the shape of tomb maps, such as the guides printed in encyclopedias of ancient egypt, filling their contents with my own designs. The 4th print fromt the left is actaully in the shape of Tutenkhamun’s tomb (although flipped as I forgot to account for this). I’m most pleased with the 3rd one though, it’s really fun incorporating the faces and forms of the Schwabtis - they feel like playing pieces to me - sort of stand ins for the viewer in the work I’m making.

After a crit with Mary and Allergra in summer and a talk with Jacob I began to feel that I might of lost confidence in my making. I dont think this is true now, just that my way of making was changing, but this prompted a period of drawing as a return to a place of pure excitement and possibility (away from what I percieved to be the pressure of painting).

Leaving this painting here.

fine points, oil on canvas, 2026

fight ready, oil on linen, 2026

paint test, oil on canvas, 2026

Tetraaa paaaks - I had a premonition of wanting to make a shaped etching plate. This was after seeing the Schwabtis at the cambridge archeological museum and wating to replicate the figurine approach and sillouhette in image making. The crazy thing I realiesed is this could be done with tetra packs - I gained a bit of a reputation as tetra pack mad in june.

Schwabtis at the department of Archeology museum, Downing street, Cambridge

Book of Days, 15th century, Girton college special collection, Cambridge

went on a research trip to Cambridge university following a lead from my Grandma about some antique books of days donated to Girton college by her mother (my great grandma). I thought these could belonged to the bishop badger, and had links to the same time period as the crusades, which had been emerging as a bit of a metaphor for his relationship to egypt. It was amazing touching the Vellum of the books, but an unexpected discovery was of schwabtis in the archeology department. I could feel their anger through the display case, and started working from their form.

Work in progress version still of the big painting (as I was calling it and thinking of it at the time, 1.5x1.5m). It is of the bishop badger preaching to a crowd of solidiers in a temporary chapel in colonial egypt.

‘fidgeting at the crossing’, oil on canvas, 2026

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

Small Drawings no bigger than 15cm wide all made in service of the paintings from the great great grandfathers perspective. Used as a method of thinking about hands, perspective and composition. They were practically driven in their creation but felt really important to me as small art objects in their own right.

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.

This point marks a shift in my making. I refocus around one story, a few months later writing this statement to understand what I begin making:

Barnaby starts with a shameful yet fantastical story. His great, great grandad, a British army chaplain in
1923 Egypt, attended the opening of Tutankhamun’s tomb. At first a source of anecdote, a recent
rethinking began to unravel the colonial roots and his implicit connection 100 years later. The artist
attempts to see through the eyes of the army chaplain and the world he inhabited, employing the first-
person perspective and bringing the legacy of the empire back to one of its many present world contexts:
videogames and their use as ideological tools. First person shooter games often have maps set in middle
eastern towns, strangely deserted while kill squads war on repeat. Barnaby never played these since even
their boxes sold in WHSmith were enough to pose the mortifying question to the then 10-year-old “are my
hands the right shape for a gun?”.

I’d already started thinking about videogames as a tool for understanding this, but it takes quite a while for any of their infleunce to actually feel present in the art work.

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