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Biography Introduction
Throughout my career as a practising architect I have been involved in the visual Fusing both analog and digital practices, I use a layering of disparate objects
arts, curating and exhibiting work in the UK, USA. My work continues to chal- and images to assemble an expression of the unheeded paraphernalia of life. I
lenge and motivate a generation of artists and architects. I have received several am drawn to the unreadable, to those mute aspects of the world immanently
major International awards. I have written critically aclaimed books most
encountered, which appear before the habitual fastening of interpretations. I
notably, ‘Field Event, Field Space’ and the ‘Form to Programme’. I held three
am intent on revealing a painterly space which cannot be readily interpreted or
professorships in the UK, Germany and in the USA and lectured widely on the
shifted into a stagnant reading.
visual arts and architecture. I founded the radical art and architecture collective,
Fashion Architecture and Taste (FAT). I have exhibited theoretical architectural
designs widely in the west and am currently exhibiting art work. Using a variety of mark making techniques, both geometric and organic, I
explore colour relations, field/object inversions, deep layering, the arbitrary
fragmentation of images and the disruption of painterly spatial values, in order
to construct an elusive aesthetic, of the anonymous aspects of everyday life,
hidden in plane sight.
Within these wanderings, our recognizable objects are scattered within a
field of latent abstraction. I aim to represent the anarchy of a life experienced
intuitively; one constructed before linguistic categorization; an existence which
rejects our value systems and power relations. The main focus of the work
depicts a juxtaposition of familiar objects and events made strange, made dis-
sonant, revealing the inexplicable, the disconnected, anti-canonical, non- linear
underbelly of the image, without singular interpretation, or projected meaning.
The work is disruptive in that it resists definition or closure, having no rationale,
no position, effectively cast adrift into an uninterpretable liminality. The work
invites the viewer to interpret the image in the face of prejudice, intuitively, as
an idiosyncratic visual drifting.
The Dissonance collection, illustrated below, was created over a period of fifteen
months. Individual images are offered as prints, derived from high resolution
files and are available at large dimensions (60x60 inches) as well as at smaller
sizes.
