Early Work
My early work grew out of graffiti culture and a deep fascination with lettering and typography. As a teenager, I began travelling into London by train, where I first encountered the scale and energy of street art across the city. What started as curiosity quickly developed into a passion for letterforms – experimenting with structure, flow, weight and style, and exploring how typography could move beyond the page and onto walls.
My early practice was rooted in traditional graffiti lettering and the exploration of urban space. I often worked independently, experimenting across rooftops, rail corridors and abandoned buildings, constantly testing new approaches to scale, composition and typographic form. Much of what I learned during this time came through direct experience and trial and error rather than formal training.
These formative years established the foundations of my practice: a fascination with letters as visual forms, an instinct for working at scale, and an interest in how artwork lives within the city itself. Being self-taught gave me confidence in navigating urban environments and painting large surfaces, though it also meant that aspects of formal technique such as composition and structure developed more intuitively than through academic study.
Current Work
My current work centres on ambitious large-scale public murals that build on my graffiti background while moving towards a more abstract visual language. While lettering remains an important foundation, my practice increasingly explores the expressive qualities of form, colour and movement, allowing typographic structures to evolve into looser, more abstract compositions.
In recent years I have expanded both the scale and technical complexity of my projects, including completing a 2,500 square foot mural in Plymouth. Many of the lessons from these projects have come through direct experience during production. This has included learning to plan around weather delays after needing to work extended hours to complete a wall, underestimating paint quantities and sourcing additional materials mid-project, and navigating the challenges of translating digital sketches from tools such as Procreate onto very large surfaces.
At times this process has required adapting designs directly on the wall, allowing the work to evolve in response to the scale and environment. These experiences have strengthened my practical understanding of large-scale mural production and reinforced my determination to continue developing increasingly ambitious public works, regularly working at scales of 1,000 square feet or more.
R&D Work
While my recent projects have demonstrated my ability to deliver large-scale murals, they have also highlighted areas where further development would strengthen the work. As a largely self-taught artist, I recognise that there are gaps in my understanding of composition, form and light that, if addressed, would help elevate my murals to a more refined and internationally competitive standard.
The focus of my R&D work is therefore to deepen these core technical skills through structured learning and mentorship. This will include one-to-one training focused on light sources, shading, depth and composition, alongside consultation with an experienced mural artist who regularly secures public mural commissions.
Crucially, this development will be practice-led. Mural work ultimately requires translating ideas onto large surfaces rather than in a studio setting, so I will spend time testing and applying new techniques on temporary walls before progressing to a large-scale mural in Plymouth. The aim is to combine stronger technical understanding with the confidence and ability to execute those ideas effectively at scale using spray paint.
Future Work
Following this period of research and development, I intend to pursue large-scale mural commissions more professionally across the UK and internationally. The technical training gained through this project will strengthen my understanding of composition, form and light, allowing me to refine my work while maintaining the scale, movement and energy that define my practice.
By combining improved technical skills with my existing experience of producing large murals, I aim to position myself to compete more confidently for funded public art commissions and mural festival opportunities.
My long-term goal is to sustain a career producing a small number of ambitious murals each year – work that remains rooted in graffiti culture and lettering, while evolving into a distinctive form of large-scale abstract public art that can exist comfortably within civic and cultural spaces.