Going into Autumn 2026

Preparing and packing artwork now for the Exhibition i named

Land…Ing at The Georgetown Gallery/Art Centre .

This opens October 16 through November 13th with an art talk and a 4-hour workshop.

For more details please follow the link above.

The 20 paintings and unframed works on paper address the topic of geology that makes up the land we walk on; my poetic outlook on rocks, flora, roots and stones. I suspect there may not be space enough for all the work to go in the show but they can be viewed on my web site.

I’m not known in these parts (Texas) but it’s always good experience to get the work into the public view. Seeing it displayed always gives me an opportunity to assess my direction, techniques and forward intentions.

Once the exhibition is open, I intend to push my work into a more playful atmospheric realm with consideration to simply experimenting with paint. It will naturally suggest landscape as that is where i prefer to spend my time observing, exploring, navigating.

My Coal project resumes in the Spring when I return to London and can collaborate more easily in cahoots with artist, Megan Segre.

I am in Austin for the next few months and my non-insulated small studio isn’t quite cool enough to work in yet while temperatures hover at 36C, except for a few hours in the morning. Soon it will be cool enough and paint wont dry in mid stroke!!

3 Weeks At The Hide

My Three Weeks at The Hide — 2026

This was my second residency at The Hide, and it felt like a return to something necessary.

I had the studio to myself — and with it, the quiet rhythm of waking each day in the same room where I could simply get to work. That continuity, unhurried and uninterrupted, is something I find increasingly rare and increasingly precious.

This year I arrived with a specific focus: a collaborative project with another artist, to be shown together in 2027. My strand of the research centres on coal delivery in 19th century London — and behind that, the deeper geological story of the Carboniferous period, when vast forests collapsed and were compressed over millions of years into the coal seams we would eventually mine, burn, and build empires upon.

And yet, surrounded by the layered history and quietly dynamic landscape of the Cotswolds, I found that having a fixed endpoint — defined formats, a set narrative — began to feel somewhat constraining. The place has a way of opening things up that doesn't always sit comfortably with a predetermined brief.

A timely mentoring session with Alice proved to be exactly the reset I needed. Her observations cut through the noise and gave me the motivation to think beyond the immediate project — to remember the broader terrain of my practice and where it wants to go.

Something quietly magical seems to happen for me at The Hide. I suspect it may become an annual fixture — less a retreat, more a return.

Collaborative project - Coal Hole Covers

I just returned to London after a liason with my collaborator artist Megan Segre. We spent a busy week at the Casa Regis art residency in North Italy in the foothills of the Alps.

Megan and I decided to tackle this project and translate this period in English history, where coal was the constant source of heat delivered to house cellars in London by way of these holes in the pavement outside the home concealed by cleverly designed cast-iron covers.

Megan primarily works with textiles and clay while my work will be mixed media which i manipulate to refer to geology and the source of coal in the earth while referencing it’s current position as a damaging fossil fuel.

My aim is to Juxtapose visual language about a wonder of nature as a non-renewable heat source with a Victorian design ethic and it’s journey into demise as a toxic pollutant.

Plant forms from The carboniferous period 30×20” Saunders Waterford paper 425 gsm

The source of coal (and oil)lies in the Carboniferous period.

Giant botanical and amphibian life grew in swampy areas in an atmosphere of high oxygen. Then a rapid change happened to the planet causing all vegetation to die. Coal formed over millions of years through a process called coalification, where ancient plant matter was buried, compressed, and geo-thermally heated underground.

Working up ideas. Ink on mulberry paper 30×20”

A mission Statement

I want to start this year by referring to my values and why I do what I do.

I do get distracted and lose motivation at times and that’s why It’s important that I have an interested audience that I care about and want to show up for. THANK YOU.

Here are some words that I get to tweak and reorganize, edit and revise throughout the months. Learning is a constant and I hope I receive feed back and any thoughts from all you fabulous people.

Why am I interested in geology? Because I’m curious. I want to understand the underpinnings of where I am and it’s ancient history. It offers me a fulfilling sense of security, of stability in a way that connects me to another angle of awareness of the natural landscape.

I’m interested in plants because it’s something that I can nurture and observe 

I recently listened to an interview with Jane Goodall that was recorded to be shared after her death. I found it deeply moving. Her lifelong commitment to care, responsibility, and attention to the living world echoes many of the questions that have shaped my work over the past several years.

My practice has long been influenced by geology and landscape. In 2017, while traveling in Iceland, I was struck by the immensity of its geologically dominant terrain. The scale, time, and force embedded in that landscape awakened a sense of wonder and imagination that stayed with me.

That sense of wonder gradually led me toward more difficult questions. As my work evolved, I began researching mining, extraction, and industrial processes—particularly those tied to the minerals and elements used in everyday technologies. A major project in 2021 grew out of this research.

Visiting mining sites and quarries, I noticed a recurring pattern: we take what we need and often leave the consequences behind. The resulting landscapes—scarred, depleted, or abandoned—reflect a broader habit of disregard, one that feels increasingly urgent to confront.

A visit to a Quarry in Somerset UK.

Lately, my focus has shifted from extraction to care. I’m interested in what happens after damage has been done, and how responsibility might take shape through repair. While nature has a remarkable capacity to reclaim disturbed land, I believe there is also room for conscious human participation—acts of restoration that acknowledge harm and support renewal.

This ongoing shift continues to inform my studio work, shaping both its material concerns and its intentions.

Completing 1 month at The Hide Art Residency

The importance of a residency for me.

I love my full life, but every so often I get an intuitive nudge that I’m drifting — saying too few “no’s,” losing focus — and I need an environment that draws me back into my work. A residency offers exactly that: a space of stillness, framed by intention and investigation.

I came across The Hide while searching for places in England built upon limestone, and discovered this treasure in Pinfarthings, Gloucestershire — a forest of opportunities. A month is an ideal stretch: long enough to go deeper, short enough to push harder when the work resists. Without the usual distractions, I could focus and strengthen my confidence.

The opportunity for dialogue was invaluable. Having a “crit” a few days in — shaped my thinking. Alice was especially insightful in her feedback, offering perspectives that fuelled my time here. Conversations with another fellow artist, too, were a gift; our practices are often solitary, and finding a circle where ideas and processes can unfold doesn’t come easy.

It had been since 2022 — my last residency in Iceland — that I immersed myself in this way. That experience was magnificent, and this one has been equally rich. What I’ve gained here will flow into the work ahead. It has been one of the most creative and deeply personal experiences of recent years, and words can only reach so far.

The Hide itself is special: an artist’s family home, with studios harmonious to contemporary practice. Alice and Piers, both artists in their own right, root the residency in authenticity — Alice’s teaching, exhibitions, and membership in the Royal Society of Sculptors bring an added depth. 

The surrounding landscape, dramatic and generous, fed and motivated me daily.On my final days I walked — discovering Ruskin Mill College, a breathtaking path along the river, and lush experimental gardens. The wider area holds a strong ethos of environmental preservation: Dunkirk Mill Museum, Ruskin Mill College, and their commitment to biodiversity, ancient crafts, Steiner’s philosophy, Goethean enquiry, (interesting)!…and research into what we can contribute to the wider world.

This residency has been a gift of time, place, and perspective — one that will continue to resonate in my work long after leaving The Hide.