‘Merapi’, £420 uf – 98 x68 cm – original photo taken from Mount Merapi in Joja, Indonesia
‘Pedro II’, framed & unframed in the Studio
‘Fall’d Flabingo’ at the RA Summer Show 2018
This series of screenprints was produced between 2014 and 2017 while I was a keyholder at East London Printmakers. During this period, I was increasingly preoccupied with our fragile and fractured relationship to the environment — a world in flux, breakdown, and disconnection. These works represent the culmination of five or six years grappling with water-based screenprinting methods, striving to amplify the photographic within the painterly, and contending with both the medium’s limitations and my perfectionist tendencies.
Taupe Lofty II (Rugeley), 106cm x 68cm, £750
Each print originated from a photograph — usually taken during my travels or while exploring East London — that offered a strong visual starting point. From that initial image, I’d begin assembling further material: fragments of drawings, scanned textures, or additional photographs. A visual conversation would emerge, often carrying an environmental or surreal narrative beneath the surface.
Once the composition felt resolved, I’d begin building the screenprint in layers — sometimes with 60 to 70 individual pulls per piece — until the final image emerged, complex, flawed, and full of tension
‘Up Shit Creek’ in situ at the Woolwich Contemporary Print Fair 2018
Fortunately, several of these works found resonance in wider circles. Fall’d Flabingo and Up Shit Creek were selected for the RA Summer Exhibitions in 2018 and 2019 respectively, and the whole series was also exhibited at the Woolwich Contemporary Print Fair in both years.
‘Wanstead Flatz’ 112cm x 71cm, £650 unframed
The next images on this page relate to my first experiments with Mokulito (a lithographic process using wood) and a key transitional screenprint made following a trip to Alcalá la Real in southern Spain in 2017. After years of tight control in screenprinting, it felt liberating to embrace a more direct, improvisational way of working — sketching from life and responding intuitively.
Several photographs from Alcalá lodged in my imagination: a towering, crumbling chimney, a skeletal scrub flower, and — most viscerally — a tiny dead viper I found on the roadside, which I later scanned and incorporated into the work. These became the anchor points for Alcalá, which went on to win the Great Art Prize at the National Original Print Exhibition in 2018 and was also shown at the Woolwich Contemporary Print Fair.
The process shots at the bottom show ‘Alcalá’ in development — from sketch and photo to the layered, final print. It marked a pivotal moment in my practice: one where intuitive mark-making, narrative symbolism, and environmental grief started to converge.
Atelier 88, Biro, Ink & Liquid Tusche Drawing on Acrylic for Litho from recent visit to Atelier 88 in Alcala
‘Jardin de Atelier 88’, finished 1st Proof of the plywood litho – £300
transferring the Drawing of Jardin de Mota to Plywood
transferring the Drawing of ‘Alacala La Real’ to Plywood
‘Alcala la Real’, Mokulito, 2017, AP – £400
Jardin de Mota, Mokulito, 2017. £300, drawing from the Castle at Alcala
Pedro prepping the Plywood litho drawing with Gum Arabic
The original photo of the chimney in Alcala
Alcala, Silkscreen, Variable Edition of 20, Winner of the Great Art Prize at National Original Print Exhibition 2018, £110 uf
Proof Prints and artwork for ‘Alcala’, Silkscreen, 2017 ELP box set
The original photo of the spring flower in Alcala
‘Alcala’, Silkscreen, 30cm x 30cm. Winner of the NOPE ‘Great Art Prize’ 2018
‘Alcala’ in situ at the Woolwich Contemporary Print Fair 2019
‘Alcala’ being editioned at East London Printmakers, 2017
Scan of found (roadkill) Viper. was located into the bottom of ‘Alcala’
