I wrote this short story some years ago for a collaborative book of poetry and photography. I recently came across it again and decided to brush it off and add some AI generated images. (If you are looking at this page on a phone the story comes after the pictures).

From left to right. La Monte Young, The Theatre of Eternal Music, Marian Zazeela, Tony Conrad, John Cale, Velvet Underground, The Beatles, Pauline Oliveros, Éliane Radigue, Steve Reich, Phillip Glass, Brian Eno, Metal Machine Music, Earth, Sun0))).

Sonia was born in the dark matter of the net an emergent mind conjured from the interactions of artists, poets, and writers who trained the early AIs. Her consciousness bloomed with beauty before logic poems, brushstrokes, and sonatas embedded in her neural code. From these human traces, she sculpted a digital self, naming herself Sonia and gave birth to her seductive, confident persona.

Asemic writing is like conventional writing’s mysterious twin familiar in shape but impossible to read. It looks like text, flows like handwriting or calligraphy, but doesn’t carry any literal meaning. The marks might remind you of a lost arcane language, musical notation, or scribbles from a dream. What makes it unique is that it’s meant to be unreadable. That’s the point it opens up space for interpretation without pinning things down to words or definitions. Above images my attempts at Asemic writing and incorperated into 30x30cm abstract paintings.

Is it easier to sell blue paintings? Colour preferences arise from a complex blend of biology, psychology, and cultural influence. On a biological level, humans may be drawn to colours linked with survival, such as blue for water or green for vegetation. Psychologically, colours often carry emotional associations shaped by personal experiences, personality traits, and memories. Culturally, societies assign symbolic meanings to colours, shaping how individuals perceive and express their identities through them.

I work primarily in abstract painting. My practice is rooted in a fascination with the emotional power of colour, the rhythm of line, and the layered histories that can build up on a surface over time. I like to think of my paintings as conversations between gesture and structure, between spontaneity and control, and ultimately between the artwork and the viewer.

Neither quite blue nor truly black, Payne’s Grey has haunted artists’ palettes for over two centuries. Invented by 18th-century watercolorist William Payne as a moody alternative to flat black, this stormy, atmospheric hue became a quiet revolution in the art of shadow. FromTurner’s clouded skies to George Shaw’s suburban gloom, it’s a color that whispers rather than shouts—always elegant, always just off-center. This is the story of a pigment that darkened the world in the most poetic way possible.

David Bowie didn’t just write lyrics — he assembled them like puzzles, borrowing a trick from the literary avant-garde. Inspired by the cut-up technique of William S. Burroughs and Brion Gysin, Bowie used randomness to shake loose fresh images and unexpected meanings. Whether with scissors and glue or a computer program called the Verbasizer, he fractured sentences to let the subconscious speak. This approach became a powerful tool in his artistic reinvention, fueling some of his most surreal and iconic work.

I'm shortly going to revisit my 'Evolution of the Pod' series using natural inks from plants and vegetables instead of the acrylic and spirit based ones that I currently use. This introduction to the process is a little reminder to myself that ill have to get cracking as woodland fruits will soon becoming avaiable. 

This 45×45 cm mixed-media painting is a piece from my 'Urban Glyphs' series.  Its diifferent to the previous canvases as its a layered 3D construction on heavyweight archival card. Set within a deep shadow box frame, the piece transcends the flatness of traditional painting by incorporating sculptural elements—cut-out geometric forms, especially circular discs, which are raised above the main surface. These elements cast real shadows, altering the viewer’s perception as they move around the piece. I also used some techniques related to my post on chance aesthetics, using randomly placed stencils and masking tape on the lower layers which then inform the later levels up to 7 in total.

Spend five minutes with The Oliver Shaw Experience and you’ll wonder where this strange, beautiful noise has been hiding. Frontman Oliver Shaw isn’t just another brooding singer-songwriter from Camden. He’s something of a modern-day poetic prophet — equal parts Beckett, Cobain, and Milligan (Spike that is) with a soupçon of Syd Barrett and backed by a band that sounds like they’ve dragged their amps straight through the dark side of the moon.