Explore by Collection
A selection of original works spanning years of exploration, each collection capturing a distinct moment, place, and state of mind.
Runway Paris 1997
In 1997, my wife was working in haute couture in Paris. That year, Alexander McQueen presented his Givenchy runway show and I travelled with her to Europe for the event. While she worked, I stayed in our hotel room with a stack of antique paper and plenty of time - and Paris quickly became my subject.
Over the course of the week, I filled page after page with two-handed drawings, each one abstract, fluid, and charged with the energy of the city. Runway emerged from this burst of work - a surreal figure that later inspired an entire series of “Monsters” I would create in the following years.
The collection stands as a record of that moment: Paris in the late ’90s, the excitement of the fashion world, and the quiet hours in between.
Musical Chairs NYC 2012
Created in New York while working on the film Musical Chairs with acclaimed director Susan Seidelman - known for Desperately Seeking Susan and many other celebrated works - this series was born in a studio just steps away from the film’s editorial suite.
As with previous projects, I filled the walls with my two-handed drawings, transforming the space into something personal and alive. The drawings became part of the creative atmosphere, a backdrop to the music I was composing. Susan often visited to listen to cues, and I think the presence of the drawings added something special to those moments.
These works hold the memory of an intensely creative period - the energy of collaboration, the rhythm of the city, and the unique dialogue between music and line. They remain to me, some of the most distinctive pieces I’ve made.
Paperboy NYC 2012
This series of six compositions was created in 2012 while I was working as the film composer on The Paperboy, directed by Lee Daniels and starring Nicole Kidman and Zac Efron. At the time, I was based in a Manhattan studio next to the film’s editorial suite. It wasn’t my own space, so I began a habit I’d followed in other temporary studios - filling the walls with my two-handed drawings.
These works served two purposes: to make the room feel like mine, and to inspire. Their presence brought a sense of energy to the studio, and even caught the attention of visitors. Both Lee Daniels and the assistant editor asked for a drawing, and I gave them each an original from the set.
The remaining works in this collection hold the atmosphere of that time - New York in full motion, a film in the making, and a space transformed by the rhythm of lines drawn with both hands simultaneously.
Piano London 2016
Created in 2016, the Piano London 2016 series began as an exploration for the cover art of my solo piano album The Presence of Absence. Many of the drawings are self-portraits, layered over photographs of myself, blurring the line between likeness and abstraction.
At the time, I had just arrived in London while working as a film composer on a Warner Brothers studio production in Leavesden. These were the early years of living in the UK - a period defined by new surroundings. The drawings carry a surreal quality, bending and reshaping familiar features into unexpected forms.
Untitled Los Angeles 2016
Created in 2016, the Piano London 2016 series began as an exploration for the cover art of my solo piano album The Presence of Absence. Many of the drawings are self-portraits, layered over photographs of myself, blurring the line between likeness and abstraction.
At the time, I had just arrived in London while working as a film composer on a Warner Brothers studio production in Leavesden. These were the early years of living in the UK - a period defined by new surroundings. The drawings carry a surreal quality, bending and reshaping familiar features into unexpected forms.
Untitled NYC 2007
Created in New York in 2007, just before moving to Los Angeles, this series was drawn on a rare antique paper I came across. The works are among the smallest I’ve ever made - postcard-sized compositions that invite close, intimate viewing.
Each drawing was improvised on the spot, with no planned connection between one and the next. Using my two-handed drawing technique, I explored how simultaneous movement could shape abstract forms, letting the lines dictate their own direction.
We Come From Fish London 2018-2020
Created in London between 2018 and 2020, the We Come from Fish collection began in the early days of the pandemic. The idea came from a simple thought - that all life, including our own began in water. We were, in some distant form, fish. That sense of shared origin became the foundation for a series of drawings where fish and human faces merge into one another.
The drawings came quickly. Once the first was finished, the rest followed in a rush, each one carrying the same fluid movement. One piece in the series shows two women facing each other without touching - an image that became part of a broader theme I explored during the pandemic, conveying this strange new distance between people.
This collection is both playful and reflective, tying together ideas of evolution, connection, and separation.
Frogs Los Angeles 2012
This series was created in Los Angeles in 2012, four years after moving from New York. It began with a single frog, drawn in one unbroken line without ever lifting the pen.
Once that first frog was finished, the process became an exploration. I learned the pattern by heart, then began shaping it into new variations, each maintaining the original flow while taking on a distinct form. All the frogs in this series were drawn using this continuous line method, their shapes emerging from the same unbroken movement.
A few other works from the same period are included in this collection. Before the frogs, I had drawn an elephant in the same continuous style - a piece that sparked the idea to try the pattern again, this time in amphibian form. Together, these works capture a moment of experimentation and discovery, where repetition was not about sameness, but about finding endless variation within a single, living pattern.
Faces London 2018-2022
Drawn between 2018 and 2020, just before the global pandemic, the HertfordshireFaces collection marks a transitional chapter in my life. Created in the UK, these works reflect a period of uncertainty - a time spent moving back and forth between countries, weighing the choice between settling in Germany or remaining in the UK.
Each drawing holds the mood of those years: moments of frustration, quiet reflection, and unresolved decisions. The faces - elongated, layered, sometimes tense - are visual traces of that unsettled state. They balance the pull of the familiar with the lure of change.
Much of the inspiration came from the landscapes around Hertfordshire, where expansive parks and quiet natural spaces offered brief moments of stillness and reprieve. Yet even in that calm, the expressions that emerged on paper carried an undertone of restlessness, echoing questions that remained unanswered.
This collection is both a record of movement and a portrait of change - a visual map of life caught between two chapters.
Abstract NYC 2011
Created in 2011 while living in New York City, Abstract is one of my earliest explorations in continuous line drawing. Hands - notoriously challenging to capture - became the focus, along with feet and abstract organic forms. Most pieces in the series were drawn in one unbroken movement, the pen never leaving the page, allowing the shapes to emerge in a free flowing rhythm.
Round, curving lines dominate the collection, giving the works a sense of motion and buoyancy. Among my favourites is a drawing of two hands reaching towards one another, frozen just before contact. Another is the “Swan” figure formed entirely from the shape of a hand.
The series is both a study in form and an early marker of the continuous, flowing style that would go on to define much of my later work.
