My practice is rooted in walking as a method for reading and reimagining the city. Through an interdisciplinary process of wandering, photographing, journalling, and historical research, I gather fragments from London’s streets, alleys, trackways, byways and traces of lost rivers. These threads are drawn together through practices that include illustration to explore how place is continually shaped and reshaped over time.

I am drawn to the spirit of place, memory, atmosphere, and layered narratives embedded within urban environments from both history and folklore. This draws my observations towards the mythic and a reimagining of my environment, its terrain and architecture. The locations are grounded in reality, yet the work leans into time’s passage. I imagine what a site once was, what it is becoming, and what stories it may still hold.

Walking situates my practice within psychogeography – the way that urban space can shape our behaviour and emotions through a re-engagement of place, via the lens of an interplay between the real and the imagined. The rhythm of footsteps acts as a metronome, tuning my attention to the city’s topography and its quieter signals: the historical residue of street names that trace lost hills and rivers, or the improvised use of public space and the marks left as territories are reclaimed for play and expression.

As a London-based practitioner, I maintain a tension between attachment and unease. The speed of change prompts continual re-evaluation of my place within it, so I often return to water as a guiding structure, thinking of the Thames as a spine running through the city and wondering about the landscape that preceded the noise. Growing up on the Essex coast has shaped this attention to the shoreline and the pull of the tide, and I continue to search for those sensibilities within the city I now call home.

Visually, I work predominantly in black and white, using line to build depth through light and shadow. Although my work is made digitally, my visual language is informed by the traditions of chiaroscuro and tenebrism and by the intricacy evident in the print processes of wood engraving and mezzotint. These influences guide my mark-making and contribute to images that feel suspended between eras.

Ultimately, I make images that sit between the real and the imagined. I think of my work as a form of attentive speculation, using place as evidence and drawing as a means of understanding where we live. Through this practice, I aim to bring attention to the city’s quieter histories and invite viewers to a renewed relationship with the landscape they move through every day.