Gallery

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  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 8.8.2021

    Monsieur Poirot is on board, dozing in the wagon-lit as Lady Hadfield-Hastings creeps to meet her lover

    OVIDS #1

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 24.7.2021

    When we go to Ipanema the mountains will be misty and we’ll watch skilled windsurfers set sail for Japan

    Ovids #2

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 14.8.2021

    I paused, mid-afternoon, to paint the cathedral. Later as the sun set across the Rhine, she appeared for a moment on a rock…

    Ovids #3

  • Giclée print on 300gsm smooth cotton art

    Edition of 25 - 13.3.2021

    To Calais, then, as it has been so often before, passing the white cliffs where a plague-year Shakespeare once found his Lear

    Ovids #4

  • Giclée print on 300gsm smooth cotton art

    Edition of 25 - 18.2.2021

    On the deck of a yacht owned by Lancaster Dodd Freddie Quell looks back to San Francisco

    Ovids #5

  • Giclée print on 300gsm smooth cotton art

    Edition of 25 - 11.3.2021

    My father showed me abstraction long before the Tate was modern, and I hadn’t yet the wit to climb

    OVIDS#6

  • Direct print on Aluminium Dibond

    Edition of 3 - 4.9.2021

    Can’t Buy a Thrill was a school hymnal in 1970s’ South London and that East River view always leaves me reeling

    OVIDS #7

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 15.6.2021

    Not even the spy who loved me could resist the ancient wit and power of the pyramids at Giza during a lively son et lumière

    OVIDS #8

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 7.9.2021

    Someone once said all western philosophy is a footnote to Plato and, personally, I adore a good footnote

    #OVIDS 9

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 27.7.2021

    After Nick and Nora, I came to Dashiell Hammett’s books and the Simple Art of Bad Politics

    OVIDS #10

  • Giclée print on 300gsm smooth cotton art

    Edition of 25 - 8.8.2021

    Oh, Auden and Isherwood and all that social climbing: we’re stuck on a Tyrolese col at sunrise trying to spell-check the French technique

    OVIDS #11

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 4.8.2021

    For Siberian Aleksander who Ubered me to giclée and explained exactly what I’ve been doing all this time, that the grass is always greener; after Nicholas Poussin, whose hilly backgrounds have always haunted me

    OVIDS #12

  • Giclée print on 300gsm smooth cotton art

    Edition of 25 - 2.9.2021

    Somewhere between Homer, Syracuse and the Kalto of the Izu peninsular

    Ovids #13

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 8.6.2021

    The calm is out there, it really is. For World Mental Health Day, 2021

    OVIDS #14

  • Giclée print on 300gsm smooth cotton art

    Edition of 25 - 7.6.2021

    For all Debeljaks, who remind me always of culture and concrete, and a Slovene sense of amused revolution

    OVIDS #15

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 13.7.2021

    Camo abstraction never really caught on, despite the best entreaties of those early influencers desked at the CIA

    Ovids #16

  • Giclée print on 300gsm smooth cotton art

    Edition of 25 - 23.3.2020

    When Ricky Tarr ran to Paris it was all about Brexit thanks to Arthur Hopcraft – even in the chill BBC autumn of 1979

    Ovids #17

  • Giclée print on 300gsm smooth cotton art

    Edition of 25 - 7.9.2021

    You can always tell a detective on TV. He never takes his hat off. For down those mean streets people must once again go

    Ovids #18

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 30.5.2021

    Sunset on, Powerpoint off. STEMs are for martini glasses, ideally

    Ovids #19

  • Giclée print on 300gsm smooth cotton art

    Edition of 25 - 11.9.2021

    To Go-Pro or not to Go-Pro. Is never the question. Dawn in the valley

    Ovids #20

  • Non-fungible token

    A collaboration with Col3trane

    8.10.2021

    You been outside yet, have you seen today, if you didn’t have to, would you still be here?

    Ovids #21

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 9.11.2021

    A bright September morning I didn’t see: 2001 when, quite soon afterwards, the world changed its mind about a story or two

    #OVIDS 22

  • Giclée print on 300gsm smooth cotton art

    Edition of 101 - 24.12.2021

    Unable to sleep, they travelled north in search of old myths, pausing to consider a life away from the capital; other ways of being

    OVIDS #23

    For Emma Jackson, 2022

  • Giclée print on 300gsm smooth cotton art

    Edition of 25 - 30.5.2021

    On a warm spring day, she looked from her deck across the LA skyline, telling guests she would never leave her perfect home

    OVIDS #24

  • Giclée prints on Hahnemühle 290gsm Hemp paper

    Edition of 4 - 28.4.2022

    Gas pumps are replacing the roadside shrines, Louis Aragon wrote in Le Paysan de Paris (1924). They are everywhere, like idols. She read the words again this spring on her Kindle, sitting backstage at Koko nightclub waiting to go onstage

    OVIDS #25

  • Giclée print on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 12.6.2020

    On a clear day, he said, you can see whatever. Just sit down and eat she replied, I think I can hear melody

    OVIDS #26

  • Giclée prints on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 28.4.2022

    Gas pumps are replacing the roadside shrines, Louis Aragon wrote in Le Paysan de Paris (1924). They are everywhere, like idols. She read the words again this spring on her Kindle, sitting backstage at Koko nightclub waiting to go onstage

    OVIDS #27

  • Giclée prints on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 28.4.2022

    Gas pumps are replacing the roadside shrines, Louis Aragon wrote in Le Paysan de Paris (1924). They are everywhere, like idols. She read the words again this spring on her Kindle, sitting backstage at Koko nightclub waiting to go onstage

    OVIDS #28

  • Giclée prints on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 28.4.2022

    Gas pumps are replacing the roadside shrines, Louis Aragon wrote in Le Paysan de Paris (1924). They are everywhere, like idols. She read the words again this spring on her Kindle, sitting backstage at Koko nightclub waiting to go onstage

    OVIDS #29

  • Giclée print on Hahnemühle 290gsm Hemp paper

    (Mixed media, sunlight on bedroom blind & garden fence)

    Edition of 25 - 16.7.2022

    She said: I will never fly again, always take the train. But where to, he asked. To tomorrow, she replied, & the day after that

    OVIDS #30

  • (Inspired by Maria Stepanova & Eugene Ostashevsky’s paraphrases of Ovid in exile, and made upstairs at the Sir John Soane Museum, London)

    Giclée print on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 12.3.2022

    Of course you don’t understand, she said, what have you lost? A lie about your past, a memory of a memory of commanding the waves?

    OVIDS#31

  • Giclée print on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 7.9.2021

    Looking out onto the marshlands of her estate she said: you can’t outsource ethics to an adviser

    OVIDS #32

  • Giclée print on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 4.11.2022

    We love to go walking she said, we see so many locations for later manoeuvres

    Ovids #33

  • Giclée print on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 22.4.2022

    Who’s the best liar, Plato asked. Achilles or Odysseus? She laughed: Achilles doesn’t really mean to lie, he’s just like the rest of them. Of course they all lie, Plato answered, soldiers and poets and men, but do they know they do? Ask Rumsfeld, she said. He knows about all this stuff. Dead, said Plato, like democracy (about 350BC)

    Ovids #34

  • Giclée print on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 7.7.2022

    You know who really benefits from this kind of chaos, don’t you? He asked. Not the likes of us, for sure, she replied, heading for the nearest exit

    Ovids #35

  • Giclée print on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 1.4.2023

    Nobody knew anything; everyone knew everything. Migration and marriage and shipwrecks; and masks. All passages are fraught, she said, though some might disagree

    OVIDS #36

  • Giclée print on Hahnemühle 290gsm Hemp paper

    Edition of 50 - 20.10.2022

    When shall we three Zoom again? When the M&A is done, the shareholder opposition overrun

    Ovids #37

  • Giclée print on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 8.9.2022

    The crowds came from all around, and a city already bright with sunshine became a sea of memories

    OVIDS#38

  • Giclée prints on Hahnemühle 290gsm Hemp paper

    Edition of 25 - 28.4.2022

    I’d say somewhere between a Golden and a Silver age. Primordial, for sure, but seasonal: changeable autumn. Short springs, fashionable, pre-exile, hopeful. (AD 8)

    OVIDS #39

  • Giclée print on Hahnemühle 290gsm Hemp paper

    Edition of 15 - 4.2.2023

    “Many who recently found solace in September 1, 1939 were aware of the poem’s troubled history. They knew, for example, that Auden finally renounced the entire poem as ‘infected with an incurable dishonesty.’” (Peter Steinfels, the New York Times, December 1st, 2001)

    OVIDS #43