Illustration and branding commission by Na Miodowo, a family run apiary and brewery.

The series depicts a bee’s misadventures, minor setbacks, but mostly delightful happenings on its way to work. 

Commissioned by EH Smith, UK’s largest brick supplier know supplying bricks for Battersea Power Station, Swinefield is a porcine fable and allegory, riffing on the story of the Three Little Pigs and set within a fictional brickmaking metropolis. 

Once upon a time, the wolf huffed and he puffed but he never blew the door down.  The innovative and clever pigs however, harnessed the Wolf’s huffs to power their ever-expanding, self-perpetuating, brick-making metropolis, Swinefield.  The city extracts clay from the pits, moulds and fires the bricks in the Battersea Chimneys, and stored in the Brick Bank AKA Pig Floyd,  a floating pig to entice the wolf’s puffs.

Jakob @ Large playfully reinterprets Rembrandt’s Portrait of Jacob de Gheyn III as a public play structure. The painting is known for its repeated theft and curious recoveries, once found under a park bench and another time on a bicycle rack. Proposed as a dialogue with Dulwich Picture Gallery becomes an installation about mischief, mobility, and memory. Proposed as a dialogue with Dulwich Picture Gallery, this project aims to reimagine the painting as a children’s play area.

Commissioned by EH Smith to mark their centenary and book launch, All the King’s Bricks is an allegorical installation that reimagines the brickmaking process through a cast of nursery rhyme characters. In this world, Humpty Dumpty’s fall leads not to tragedy but to innovation, as the King and his retinue take up the task of rebuilding a better wall. The King, ever noble, reforests the ravaged clay quarries and dons his robe with pride. His Men stomp out bricks in rhythmic formation, powered by the wind. The Horses carry the bricks high across the city, where they’re sun-dried in trotting huts. Fired in Humpty’s yolky core, emissions are filtered by cloud-shaped egg whites—a comic but pointed metaphor for clean industry. The resulting wall, built into the landscape itself, provides homes for all the King’s communities. With wit and imagination, the project turns each step of brick production into a fairy tale about sustainability, labour, and renewal.

This architectural illustration, produced for a London-based practice, approaches drawing as a form of storytelling. It explores how diverse user groups inhabit, activate, and move through the building’s layered strategies of sustainability. Positioned at the intersection of architecture and narrative art, the work reflects my ongoing interest in drawing as a medium for revealing the social, emotional, and environmental dimensions of the built environment.

‘Flip the Bird(box)’ was shortlisted for the Antepavilion 2021 design competition, held in response to Hackney Council’s enforcement action against the pavilion series. The competition asked for a defiant and expressive gesture within the urban landscape. This proposal uses the legal protections of wildlife conservation to mount a “tongue-in-beak” protest by inviting roosting birds into the installation, the Bird(box) becomes untouchable under UK conservation law. Aimed squarely in the direction of the council’s office, it is a playful and pointed critique of planning enforcement.