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Image 1 of 1
Image 1 of 1
Image 1 of 1
This gyclee print of my artwork, Circulation Strategy, is produced using archival ink and is printed on high quality 290gsm art paper. All of my drawings are hand drawn using traditional architectural draughting methods.
This print is available in:
210mm x 297mm (A4)
297mm x 420mm (A3)
420mm x 594mm (A2)
Custom sizes available, just get in contact
(Original dimensions of the work are 420mm x 594mm. (16.5” x 23.4”)
All orders will be shipped in protective mailing tubes. Please allow 3 - 5 working days for your order to be processed.
Circulation Strategy - (2020) Ink, Graphite, Paper
Circulation Strategy responds to the conventions of diagrammatic clarity, where movement is defined, controlled, and quantified. Here, that logic is deliberately unsettled.
The drawing emerges through a state of not having a strategy, (itself a strategy), allowing lines to diverge from expectation rather than respond to coherent system. Within this condition, complexity arises without direction. The lines suggest movement, but do not prescribe it, holding the drawing in a state of ambiguity rather than clarity. Strategy becomes a misused structure—no longer a tool for explanation, but a means of opening the work to uncertainty.
Responding to the processes explored in Chimney and Facade, the work avoids the edges of the page, producing a field of white space that creates a frame.
This gyclee print of my artwork, Circulation Strategy, is produced using archival ink and is printed on high quality 290gsm art paper. All of my drawings are hand drawn using traditional architectural draughting methods.
This print is available in:
210mm x 297mm (A4)
297mm x 420mm (A3)
420mm x 594mm (A2)
Custom sizes available, just get in contact
(Original dimensions of the work are 420mm x 594mm. (16.5” x 23.4”)
All orders will be shipped in protective mailing tubes. Please allow 3 - 5 working days for your order to be processed.
Circulation Strategy - (2020) Ink, Graphite, Paper
Circulation Strategy responds to the conventions of diagrammatic clarity, where movement is defined, controlled, and quantified. Here, that logic is deliberately unsettled.
The drawing emerges through a state of not having a strategy, (itself a strategy), allowing lines to diverge from expectation rather than respond to coherent system. Within this condition, complexity arises without direction. The lines suggest movement, but do not prescribe it, holding the drawing in a state of ambiguity rather than clarity. Strategy becomes a misused structure—no longer a tool for explanation, but a means of opening the work to uncertainty.
Responding to the processes explored in Chimney and Facade, the work avoids the edges of the page, producing a field of white space that creates a frame.