An Independent Studio — Est. 2012
Paintings, mixed media assemblage, commissions, and music — for collectors, galleries, and anyone who believes the handmade thing is still the most radical choice.
Watercolor · Turmeric Dye, 2025 
Watercolor · India Ink, 2025 
Watercolor · Commission, 2025 Chapter I
Watercolor · India Ink · Graphite · Turmeric Dye on Watercolor Paper · Commission
A hunting dog stands alert in a vast golden desert landscape beneath a stormy graphite sky — the mountains of Palm Springs rendered in layered washes of ochre, mauve, and black India ink. Handwritten words — "human," "relationship," "dogs," "grateful glimpse" — are embedded in the ground, turning this commission into a quiet meditation on the bond between person and animal. Made for Simon Perkins.
Commission Similar Watercolor · India Ink · Graphite · Turmeric Dye on Watercolor Paper · Original
A reclining figure dissolves into warm golden washes — teal, crimson, and white marks suggest a body caught mid-movement, perhaps swimming or falling. Bold stencil-like letterforms flank the composition, and the phrase "inspiration for the maker" is inscribed lightly above. Graphite and turmeric dye warm the paper ground, giving the work a sun-bleached, heat-haze quality.
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Watercolor · India Ink · Graphite · Turmeric Dye on Watercolor Paper · Original
An abstracted figure emerges from cascading washes of yellow, teal, and grey — ink drips and gestural marks suggesting the fluid, sometimes chaotic act of creation. Turmeric dye lends a warm organic undertone to a composition that feels simultaneously improvised and inevitable.
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Watercolor · India Ink on Watercolor Paper · Original
A lush, sunlit hound moves through a dense tropical landscape — palm fronds rendered with careful botanical attention against warm amber washes. The dog's alert poise and the verdant surroundings create a tender, almost cinematic stillness.
Inquire Watercolor · India Ink · Graphite · Turmeric Dye on Watercolor Paper · Original
A crouched, intensely focused figure rendered in teal, crimson, and black — gestural white marks cut across the composition like notation on a staff. The words "Melody, Markmaking, Songwriting" are inscribed in the lower corner, and "Simple'Em" floats to the left, anchoring this as a meditation on the act of creative making. A companion to the first Songwriter work.
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Watercolor · India Ink · Graphite · Turmeric Dye on Watercolor Paper · Original
A pointer stands alert among loose golden pine strokes on a soft pink ground — the dog captured with energetic economy of line while the surrounding pines are laid in bold, gestural marks. Graphite and turmeric dye add warmth and texture to this field study of a hunting dog in repose.
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Oil on Canvas · Original
A bold, cubist-inflected composition in electric blue, yellow, and green — interlocking geometric forms suggest architecture, landscape, and figure simultaneously. Painted with confident impasto strokes, this oil work pulses with energy and colour, a visual celebration rendered in the language of the avant-garde.
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Watercolor on Paper · Original
Deep crimson and violet washes swirl around a central void — the word "MINOTAURO" inscribed at the top, "DUENDE" at the bottom, bookending a horned creature emerging from layered mist. A mythic, atmospheric work that channels Lorca's concept of duende — the dark, irrational spirit that animates great art.
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Watercolor on Paper · Original
Warm mauve and terracotta washes evoke the heat and dust of a bullring — loose figures gather on the left, a dark bull stands at centre, while a solitary man with a cane observes from the right. The title "DUENDE" floats above the scene in spare letterform, invoking the mysterious force of passion, danger, and presence that defines flamenco, bullfighting, and art itself.
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Mixed Media Assemblage on Canvas · Original
A luminous assemblage of gilded florals — sunflowers, peonies, and roses cast in gold — layered over a textured black-and-white canvas with delicate pink ribbon. An intimate and deeply personal work that transforms botanical abundance into an offering of love and legacy.
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Mixed Media Assemblage on Canvas · Original
Bold gesture marks in black against charged yellow — raw burlap, dried botanicals, and a small preserved butterfly at the center. The number 444 carries its own quiet symbolism within a composition that feels both primal and ceremonial, assemblage as ritual.
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Mixed Media Assemblage · Original
Taking its name from the Akan word meaning "to go back and get it," this assemblage layers photographic imagery of Black figures beneath explosive red mark-making, olive green gesture, and dense collage. The word "EAT LIVE WORK" is barely legible beneath the surface — a palimpsest of survival, memory, and the necessity of return.
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Mixed Media Assemblage · Original
Two Sankofa heart symbols — the Adinkra symbol of returning to one's roots — rise from a densely worked ground of gold leaf, collaged newspaper, black gestural marks, and architectural imagery. The paired hearts frame cityscapes within them, wedding the personal and the civic, the ancient symbol and the modern city, into a single act of devotion.
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Mixed Media Assemblage · Original
A raw, earthen surface of scratched and layered mixed media — white paint scraped back to reveal warm wood beneath, with a bold red numeral and torn collage fragments. The title grounds the work in place and soil, the marks reading like geological strata, like something dug up rather than made.
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Mixed Media Assemblage · Original
Gold leaf catches the light against torn collage, terracotta drips, and textured white impasto — the word "MEANWHILE" barely legible beneath layers of paint and material. A work about what is taken and what remains, the residue of identity and the beauty that persists despite erasure.
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Watercolor · India Ink on Paper · Original
Two hunting dogs press close together, rendered with assured ink linework over luminous watercolor washes of lavender, teal, and green. The title "BRACE" — a term for a pair of game birds or dogs — floats across the sky in spare letterform, the bond between the animals palpable in their overlapping forms.
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Mixed Media on Paper · Original
A face emerges from dense, heavily worked layers — ochre, teal, purple, and charcoal — with expressive marks suggesting both mask and portrait. The textured surface, built from mixed media including what appears to be sand or grit, gives the face a monumental, sculptural quality. Urgent and searching.
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Mixed Media Assemblage on Canvas · Original
A dense, layered assemblage of torn materials, broken glass, birch bark, and paint — earthy browns, muted greens, and deep blacks collide in a composition of controlled tension. Named for the Roman god of boundaries, this work explores thresholds, endings, and the rawness of what lies at the edge.
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Mixed Media Assemblage · Original
A monumental assemblage at 48×72 inches — explosive red gestural marks over densely layered photographic imagery, newspaper collage, and heavily worked paint. Faces emerge and dissolve beneath cascading mark-making, the scale demanding the kind of attention a whisper never could. One of the largest and most commanding works in the collection.
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Mixed Media on Canvas · Original
A riotous, energetic canvas of sweeping black arcs, vivid splashes of crimson, yellow, teal, and blue — gesture marks colliding with crackled paint surface in a composition that feels like pure id released onto canvas. One of the earliest works in the collection, it already demonstrates the fearless, layered approach that defines the body of work.
InquireArtist Statement
I make marks the way a body moves — before thought, before intention, before the word arrives.
Duende is the center of my practice. Not as metaphor, but as method. Lorca described it as the dark, earthen force that burns through the throat of the singer, the feet of the dancer — the thing that cannot be taught or summoned, only survived. I have come to understand my work as an attempt to stay open to it. To keep the hand moving until something true comes through.
My materials are watercolor, India ink, graphite, and turmeric dye on paper. The turmeric is not incidental — it is a pigment pulled from the earth, ancient in its use, bodily in its warmth. It stains the paper the way experience stains memory. It connects the work to something that predates the canvas, predates the gallery, predates the name we give to art.
I am a formally trained painter who distrusts formality. What I trust is the mark — the gesture that survives revision, the line that carries more than it was meant to, the evidence of a hand that did not stop to ask permission. Markmaking is not technique. It is a condition of being human, as fundamental as breath, as old as the first hand pressed against stone.
My figures are rarely resolved. They are caught mid-becoming — suspended in the moment before the song lands, before the meaning clarifies. I am not interested in arrival. I am interested in the quality of attention paid in the reaching.
That is where duende lives. Not in the finished thing. In the wound the making leaves behind.
Chapter II
A long-running collaboration built on shared late nights, half-finished cups of tea, and the belief that songs and pictures belong together. New music arriving late 2025.
— Made with AshleyChapter III
Chapter IV
Chapter V
Every commission starts with a conversation. Whether you're a collector with something specific in mind, a gallery seeking a site-responsive work, or someone with a story that needs illustrating — write and we'll find the right shape for it together.
Start a ConversationInk on paper · 4–6 weeks
On paper · 8–10 weeks
Mixed media assemblage · Gallery-quality · By inquiry
Large-scale · By inquiry
Covers, interiors, spot illustration
Chapter VI
For commissions, gallery inquiries, press, or just to say hello — fill out the form or write directly.