Fractures
A break changes the balance of the whole.
Straight lines and hard-edged divisions interrupt the field, shifting forms out of alignment without breaking the composition apart.
Moderated Field
Governing Line
Moderated Field is built around a broad pale centre, held between softer pinks, mauves and cooler blue-grey edges. The composition feels calm at first, but the thin dark lines and sharper fractures prevent it from ever becoming completely settled. I like the way the colour seems to soften the geometry without disguising it. The idea was to keep restraint and disruption present at the same time.
Its more pastel palette gives the work an easy presence in a bedroom, study or smaller living space, while the irregular structure keeps it from becoming merely decorative.
20x20cm on cradled wood panel, in a black float frame, ready to hang
Mixed media: acrylics, pencil, ink
SOLD
Cold Diamond
Hidden Voltage
The composition in Cold Diamond holds its tension through receding planes and shifting depths, while the vertical crack cuts through the field and prevents the atmosphere from fully settling. It developed from a moment of internal friction — a kind of jolt that moved into the distance. I wasn’t trying to describe that feeling. I wanted to build a field cold enough to capture and hold it: a clarity of thought, but without comfort.
There is something slightly elusive about the work; the structure feels precise, but the space around it keeps slipping and reforming. It suits contemporary interiors, considered office spaces, or a curated grouping where its cooler register can hold its own without dominating.
40×40cm on cradled wood panel, in a black float frame, ready to hang
Mixed media: acrylics, pencil, ink
AVAILABLE. To enquire about Cold Diamond click here
Obsidian Drift
Born Under Pressure
Obsidian Drift is about what remains intact under pressure: an inner spine, a directional pull, a refusal to dissolve into noise. Dark structural forms press against cooler blue-grey fields, creating a sense of movement through a landscape that feels tense but still controlled. The work sits in that suspended space where restraint becomes strength, and darkness carries structure rather than absence.
It was produced on a bespoke Auto Amor board and later sold at their exhibition at Terrace Gallery.
Red Admission
One Thing Confessed
In Red Admission, angular forms converge towards the centre, creating a strong sense of downward movement and compression. The upper part of the work is interrupted by a narrow strip of dark pink, scratched with a sharp knife. The main U-shaped fracture holds the central composition in place, allowing the surrounding fields to maintain their balance.
Small in scale but assured in presence, it suits a hallway, study or reading corner where its calm tension can be discovered gradually.
20×20cm on cradled wood panel, in a black float frame, ready to hang
Acrylics
AVAILABLE. £240. Click here to buy it from the shop
Out of True
Nothing Squares
What I love about Out of True is the rawness beneath its calm palette. Look closely and you notice scraping, sanding and scratches, revealing earlier layers and even raw panel in places. The composition feels as though the field has shifted and found a new balance: lines misalign, planes lean against one another, and nothing quite settles where you expect it to. That slight wrongness, combined with the textures, gives the work not only its tension but also its resilience.
Small in scale but with real presence, it rewards longer looking and works especially well in contemporary or mid-century interiors, on a smaller wall, above a console or as part of an eclectic grouping.
20×20cm on cradled wood panel, in a black float frame, ready to hang
Acrylics
AVAILABLE. £240. Click here to buy it from the shop