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Portfolio

Live Stage Drawing

During these performances the audience can watch a visual artist in full flow, but also is hopefully captivated by the way drawing may interact with and respond to the story on a stage. These performances hold elements of risk, reveal behind the scene glimpse and are real and fresh for both audience and artists. So far collaborations include dance, music, lyrical text, and verbatim.

Just a bairn, Japanese Ink, 500 x 400m

Audio-Visual Installations

My Japanese ink drawings can interact with 'anything', so far collaborations include dance, music, lyrical text, verbatim and soundscapes. The drawings are recorded live often during stage performances and evolve in real time.

Japanese Ink

The colour and marks that I can create with a bespoke calligraphy pen and this Japanese ink are incredible – it is amazing ink - so fluid, it has a life of its own. Many of my Japanese ink drawings are made on handmade Xuan rice-paper.

Sentinel star readying to set sail, Etching, 420 x 300mm

Etchings

I find that a copper plate etching gives an unbeatable depth to an image with a unique quality. My etchings are dedicated to Scottish industries, such as the shipyards and heliport of Aberdeen, the iconic whisky industry, a livestock auction and a Victorian woolmill.

Callanish Stone Circle, Oil Painting, 2500 x 1200mm

Paintings

Large-scale paintings on wooden boards or Xuan rice-paper are all made with subtle colours. The 'black' paint or Japanese ink has a brown and matt quality when mixed with turpentine and sometimes has a blue hue. When the 'black' paint/ ink is mixed with oil it becomes a very intense glossy black. Multiple layers are built up through this manipulation of the medium creating a rich texture, a beautiful depth and atmospheric composition.

Nae plans - The jig, Pencil drawing, 420x600mm

Pencil

Pencil is where the majority of my work starts. I love the simplicity and intimacy of pencil drawings, the

grainy texture, soft and sharp, with a light sheen, all within one medium. I really like looking at drawings, you can find the artist’s response to the environment, what details are picked up, how they are described and equally significant what is omitted; the artist is fully exposed.

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