My work is characterised by two distinct approaches:
I make minimal drawings with rapid lines, leaving lots of white page, and with occasional colour. I developed this approach through making close observations to document day to day environments (trees, gardens and wild places) as it is necessary to look and work fast (for example Hawthorn Diaries). I also use this approach for landscape design concept studies and teaching (for example Birches/Chair) where speed and concision are required.
The second drawing approach involves detailed labour-intensive transcription of tonal fields exploring photographic, filmic and digital qualities of light. These drawings concern autobiographical narratives of gardens, woods and wilderness and journeys (for example Haunts of the Lime).
The approach of moving between digital photographic media and paper-based drawing and prints was first developed and refined for my book illustrations in To Design Landscape (2012). Later I expanded the photographic method to make large scale installation drawings transcribing digital projections of pixels (for example (GROVE Exhibition at UC Berkeley).
Since then I have evolved different tonal transcription methods with increasing use of colour, and more attention paid to narrative composition. In my latest series of forest installation drawings and garden stories I’m experimenting to combine the fast/line and slow/tone drawing approaches.
You can see some of my work in progress and read more about my ideas on drawing on Instagram, and in the short essays on this website here.