studio practice/ drawing & computational
My studio practice centres on drawing as a time-based process, extending into sound, performance, and interactive systems.
Working across analogue and digital media, I use drawing as a mode of listening, attention, and sense-making. Alongside work on paper and walls, the practice includes creative coding, physical computing, sensor-based interfaces, and early experiments with machine learning.
These explorations treat drawing as method and interface, allowing it to operate beyond image-making and into temporal and computational forms.
Earlier research and development was supported by Arts Council England’s Developing Your Creative Practice programme.
Linea Viva (2025-2026)
Linea Viva (“living line”) is a drawing-and-sound performance where a single line unfolds as a live score, under a set of self-imposed constraints:
I. Always make the line
II. Never cross your path
III. Close the loop
This project is part of an ongoing exploration of drawing beyond its illustrative purpose. Within the three constraints, the line traces its own loop through a field of sonic possibilities. A cartography of gesture and return.
Sonic Maze (2024)
Prototype exploring the materiality of drawing and its potential as a multisensory, interactive medium through the integration of physical computing.
Inspired by the work of pioneers like Daphne Oram, this experiment reimagines drawing as both an auditory and performative act, expanding its materiality and meaning.
The resulting sensory landscape shifts between subtle echoes and more intense tones, reflecting the physical engagement of the participant with the surface.
The setup includes a drawing surface augmented with force-sensitive resistors that detect variations in pressure. These inputs control sound parameters in Max MSP, creating a layered, evolving soundscape.
Pink Noise (2024)
Interactive program developed using the p5.js library in JavaScript. It explores time, memory and duration through the concept of emergence in generative drawing.
Participants are invited to play with three dynamic brushes, each implemented using Perlin noise algorithms and displaying a range of pink hues, from red to blue.
The program allows users to generate real-time abstract visuals, where the emergence of textures and patterns evokes the complexity of natural phenomena.
Pink Noise is designed as a 'doodling' platform and invites users to co-create with the program. Here, technology serves as an ally for the user, transforming the making process into a collaborative practice between programmer and participant.
The combination of randomness with user interaction is a key aspect for creating dynamic and unique visual experience every time the program is used.
Below are images from my previous sketches and some key steps in the design of the final brush types.
Queer Conversations (2023)
During the 2023 Open House at the Triangle, I engaged visitors in conversations around the meaning of "queer".
This collaborative artwork translates these conversations into visual form, capturing the diverse perspectives and emotions surrounding the experience of identifying as "queer".
The Triangle is a LGTBQ+ cultural center in South London where my art studio is located. As a queer artist and member of the community, I wanted to explore and document the varied interpretations of "queer" among visitors and create an interactive and live experience, rather than just merely show some finished pieces for our open studios.
I asked a simple question: "What does queer mean to you?" My goal was to understand the personal and collective significance of the term and to know how individuals feel about it and the meanings they attach to it.
Throughout the event, I had the privilege of speaking with both LGBTQ+ community members and allies. I documented this valuable exchange in written notes and sketches. Some visitors preferred to leave a message on a post-it note, while with others, we engaged in deeper conversations. I also had the opportunity to create portraits of some of the artists I spoke with, visualising their art and their responses to my question.
The term 'queer' has a complex and evolving history. Initially an offensive label of discrimination, it has been reclaimed and embraced by newer generations as a form of self-affirmation.
This reclamation has transformed a word of oppression into a symbol of pride, diversity, and resistance. Today, the term encompasses a wide spectrum of sexual orientations and gender identities, celebrating the fluidity and inclusivity of the LGBTQ+ experience.
However, significant pain remains associated with this term, particularly among those who faced abuse and discrimination in the 1970s and 1980s.
Yard (2021)
Commissioner: Peckham Levels
Art mural project inspired by the poem Yard by author Caleb Femi. The mural spanned across three walls, with a total size of 3 x 20 m. Located at Peckham Levels, it was displayed between September and November 2021.
This project originated as a response to an Open Call Gallery Wall installation at Peckham Levels. The call invited artists to submit work centered around Peckham, showcasing its local neighborhood, diversity, and history.
My submission focused on the poem Yard by Caleb Femi, featured in his collection “Poor,” published in 2020. This powerful collection explores the experiences of growing up as a young black person in a council estate in North Peckham, addressing themes of violence, grief, class, race, discrimination, and gentrification.
Initially presented as a drawing, my proposal was selected for a separate art mural commission. My creative approach revolved around doodling, aiming to celebrate Caleb’s impactful lines by delving into their surrealistic metaphors and vibrant imagery. Through the interplay of imagination and reality on paper, I sought to unfold a visual poem that captured the essence of his words.
