A continuous line tracking my year in Tarset. This single line traces the edges of whatever I rest my eyes on for 5 minutes each day. When complete, the drawing will measure 35metres in length.

This series are all studies from the beech wood next to the studio. Scars, where branches have fallen off or the bark has been damaged in some other way, are like ripples closing back in around the wound, healing but always leaving a trace of the tree’s own history. The drawings are scored into the paper over and over until the paper itself wears through taking on a scarring of it’s own.

Powdered graphite is applied with the fingertips, describing the surface of broken off tree limbs, collected after the heavy snow. The drawings lie on the surface of the paper. I wanted to make them seem like they would blow away at any moment, echoing the transience of the decaying wood, rotting back into the earth.

A body of work made specifically to accompany performances of Mozart’s Requiem performed at St Michaels and all Saints, Bristol as part of the Art on the Hill Arts festival.

The Danse Macabre (dance of death) is a medieval allegory on the universality of death. It is designed to remind us that in death we are all equal whatever our perceived status in life. This series of 9 pairs of drawings shows the bird “looking” at itself and conjures the idea of a dance.

Through our work we both explore our individual experiences of landscape and the passing of time – from the wilting of a flower to the arc of the sun overhead.

Each experience is fleeting, and yet the record of it is fixed through use of line. Line has, for both of us, the physical and emotional qualities that can express the elusive connection between our internal and external landscapes.

The process by which these drawings are made echoes the way a nest is built. The materials a bird or insect uses (moss tugged up from the base of a tree, wood scraped from a window ledge) involve the action of destruction as well as one of construction. Thousands of journeys are made, as little by little, the nest is created. In the drawings, each line that is made is also erased. The task is repetitive: little by little, each line adds to the form that eventually takes shape.

For this exhibition I made a before and an after drawing. I recorded the growth of a pea, daily for 6 weeks. On the eve of the show, I removed the pea from its container and suspended it. On the wall of the gallery, I made a time-lapse drawing that recorded its subsequent wilt and decay. The before drawing still exists.

Nature is always ready to encroach on civilization. It is also what civilization is built on and what sustains it. The plants I have selected to use have nourishing and/or healing properties and all are found in the urban environment: building sites, railway tracks, parks and pathways.

Selecting plants found on the building site next to the studio, the drawings have developed over a period of several weeks, recording their gradual decay. The drawing set-up is there for as long as the drawings remain: one does not exist without the other. The plants themselves question the role of the drawings as representation, indeed whether representation is at all possible.

Sustained is a calendar recording the bramble season. The work’s assimilation back into the environment is fundamental to its meaning as a reminder that seasons and opportunities pass.

The piece is also made from harvesting seed heads and, it too, is in a constant state of flux. Formally, Drift contrasts the rigid structure and physically fixed nature of Sustained. It is not fixed down but is constantly moving, gradually eroded through the process of being viewed. You are encouraged to touch; to pick one up.

As a consequence of attempting to pin down the elusive, much of my work has a temporal quality. At the same time the process itself is very much about being in the now. Counting, observing, collecting, markmaking is a state of private ritual or meditation. Making contact and marking time is my motivation for making work and in doing this, I am also attempting to bridge the gap between reality and representation.