High quality limited edition Giclee prints and original drawings are all available here and can be bought directly from the artist using PayPal.
For international orders outside of the UK- please get in contact to enquire about postage costs, as this will depend on where you wish the artwork to be shipped to.
Creature fady
Perceptions and understandings of the animal kingdom in Malagasy fady and folklore. An artist's book that explores animal associated taboo's in Madagascar. The book contains eight artwork's that respond to these taboo's, accompanying texts to describe each idea and also texts that describe the bizarre happenings on this very unusual research trip. This book also provides a strong message that emphasize's the importance of conserving the flora and fauna of this unique island.
Pica pica
An artist's exploration into the British and worldwide superstitions created around the Eurasian magpie. Why does this bird carry such attachments and how has it earned such a variety of superstitious belief based around it? This book contains images of artwork's and texts made through researching these age old ideas.
Hit list
Over the last year, I have been working on a large series of artworks that is titled, Hit List. I have been sourcing different sets of old cigarette cards and old encyclopedia pages, with some being over one hundred years old, and then I have been editing these by burning away the animals' image according to the individual species' conservation status on the IUCN red list of threatened species. So the closer the individual animal depicted on the card is to extinction, the more of its image is burned away. This artist's book contains the images of this series of artworks and visually reveals the devastating effects humans have had on the rest of the animal kingdom. There is also a text contribution by Oceanic Wildlife Conservation.
Sharks, 2018. 52 x 38 cm. Giclee print on cotton rag paper. Limited edition of 25. £175.
Sharks, 2018. 52 x 38 cm. Giclee print on cotton rag paper. Limited edition of 25. £175.
Oiseaux (Ostrich), 2017. 70 x 54 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
Oiseaux (Ostrich), 2017. 70 x 54 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
Lions and Tigers, 2019. 65 x 66 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
Lions and Tigers, 2019. 65 x 66 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
Hit List: Ichthyology, 2018. 54 x 40 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List: Ichthyology, 2018. 54 x 40 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List: Artic fauna, 2018. 44 x 52 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List: Artic fauna, 2018. 44 x 52 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List: Oriental fauna, 2018. 44 x 52 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List: Oriental fauna, 2018. 44 x 52 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List: African fauna, 2018. 44 x 52 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List: African fauna, 2018. 44 x 52 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List: Reptiles, 2017. 70 x 54 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
Hit List: Reptiles, 2017. 70 x 54 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
Hit List (Turf cigarettes, 36 Zoo animals, 1954), 2017. 47 x 40 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List (Turf cigarettes, 36 Zoo animals, 1954), 2017. 47 x 40 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List (Player’s cigarettes, 15 animals, 1924), 2017. 32 x 30 cm. Giclee print on cotton rag paper. Limited edition of 50. £125.
Hit List (Player’s cigarettes, 15 animals, 1924), 2017. 32 x 30 cm. Giclee print on cotton rag paper. Limited edition of 50. £125.
Hit List (Adkin’s cigarettes, 36 wild animals, 1923), 2017. 48 x 40 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List (Adkin’s cigarettes, 36 wild animals, 1923), 2017. 48 x 40 cm. Giclee print on cotton rag paper. Limited edition of 50. £150.
Hit List (Abdula and Co cigarettes, 12 Feathered friends, 1935), 2017. 31 x 28 cm. Giclee print on cotton rag paper. Limited edition of 50. £125.
Hit List (Abdula and Co cigarettes, 12 Feathered friends, 1935), 2017. 31 x 28 cm. Giclee print on cotton rag paper. Limited edition of 50. £125.
500, 100 and 500 Indonesian rupiah, 2019. 78 x 56 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
500, 100 and 500 Indonesian rupiah, 2019. 78 x 56 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
'A crash of Rhinoceroses', 2019. 80 x 55 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
'A crash of Rhinoceroses', 2019. 80 x 55 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
20 South African rand, 5 Fijian dollars, 50 Congoleses francs, 2019 .72 x 61 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
20 South African rand, 5 Fijian dollars, 50 Congoleses francs, 2019 .72 x 61 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
5 Venezuelan bolivares, 1000 Rwandan francs and 2 Brazilian reais, 2019. 60 X 72 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
5 Venezuelan bolivares, 1000 Rwandan francs and 2 Brazilian reais, 2019. 60 X 72 cm. Giclee print on cotton rag paper. Limited edition of 25. £250.
The Walrus, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche. £1,500.
The Great White Shark (female), 2019. Graphite on white washed plywood that is then sanded. 60 x 120 x 4 cm. Framed in white varnished obeche. SOLD.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Gaur, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche. £1,500.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Harpy Eagle. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche. 2019. £1,500.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Giraffe, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche. £1,500.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Okapi, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche. SOLD.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Clouded Leopard, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche. £1,500.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The California Grizzly Bear, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche. SOLD.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Maned Wolf, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche. £1,500.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Long-tailed Pangolin, 2019. Graphite on white washed plywood that is then sanded. 65 x 65 x 4 cm. Framed in white varnished obeche. SOLD.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Polar Bear, 2019. Graphite on white washed plywood that is then sanded. 125 x 93 x 4 cm. Framed in white varnished obeche. £3,000.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Sperm Whale, 2019. Graphite on white washed plywood that is then sanded. 125 x 93 x 4 cm. Framed in white varnished obeche. £3,000.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Great White Shark, 2019. Graphite on white washed plywood that is then sanded. 50 x 40 x 4 cm. Framed in white varnished obeche. £900.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.
The Binturong, 2019. Graphite and ink on white washed plywood that is then sanded. 45 x 60 x 4 cm. Framed in white varnished obeche. £1,000.
Since Spring 2017, I have been working on a large series of works that is titled, Hit List. I have been sourcing different sets of old cigarette cards, bank notes and encyclopaedia pages that depict animals on them and then I have been editing these by burning away the animals’ image according to the individual species’ conservation status on the IUCN red list of threatened species. So, the closer the individual animal species depicted is to extinction, the more of its image is burned away. This idea works in the same way with the drawings on plywood. I carefully create the drawings of the animals as accurately as I can and then I immediately erase the drawing with sanding tools. These void spaces within the drawings are a metaphor for human impact on the natural world and a reminder that one day we will not be able to see these animals anymore.