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Constantly seeking out new lines from new places I’ve created drawings around the world from Mallorca to Tokyo, Mumbai to New York.
My main line of work and interest is in drawing; creating window drawings, wall murals, meticulously detailed cityscapes, and pictorial narratives for galleries, institutions, work environments, and private homes.

Initially starting out in the UK working together with nationwide art collective ThemLot founded by my cousin James Bourne. My first show in Denmark, “What Happens Here” at Lunchmoney Gallery for Contemporary Art in Aarhus, came in 2012 - shortly after moving to Denmark permanently. The next major show was together with Galerie Jules Julian, founded by Sara Lysgaard  - located on Pilestræde inner-city Copenhagen - titled “Selected Storeys”. This was followed by representation at both Art Copenhagen and Art Herning art fairs in 2013.

It was in 2014 that I first worked together with Vess Showroom, a creative production collective located in Copenhagen’s Vesterbro district, on the show ‘Tropicalialialiliania’.
I have also shared a long-standing relationship with Aarhus-based gallery Galerie Parnasse; and shown work in a number of group shows that have included TYS Gallery (Copenhagen), Galleri Christoffer Egelund (Copenhagen), as well as further afield in De Baile (Amsterdam), Cerquone Projects (Caracas, Venezuela & Madrid, Spain) and Tobacco Factory (UK).

The architectural-style drawings have also led to creating drawings for Bjarke Ingels Group – creating illustrations for the new Aarhus is Aarhus building opening in 2019 as well as collaborating with Danish street artist Mormor on a collaborative drawing at the BIG offices located on Broadway, New York.

As well as creating a series of drawings for the inaugural “Drawing of the Year” competition at the Aarhus School of Architecture in 2014, I have also worked together with the Danish Architecture Centre –for their private collection, on a series of drawing workshops, and most recently co-creating an installation for the children’s “Construction Zone” together with the centre as part of Victoria & Albert’s exhibition about the Anglo-Danish engineer Ove Arup.

Alongside my own practice, I also teach drawing and art method as well as developing workshops to encourage others to explore their own personal visual identities, working together with Aarhus Kunstskole (DK) (for the past 6 years), Kulturentrepenørs (DK), Danish Architecture Centre’s Educatorium (DK), and most recently Billund Kommune’s Capital of Children initiative (DK).

My artistic style is in perpetual motion, and I’m constantly finding new outlets and purposes for my work. Alongside longer artist residencies - Aarhus Kunstbygnings Sigrids Stue, the Asbæk Foundation’s CCA Andraxt centre located in Mallorca, Spain, and Cooler Gallery, New York ran by Michael Yarinsky – I’ve also taken up shorter projects while traveling working with gallery spaces Spazio Nea in Naples, Italy, Park Gallery in Tokyo, and Street Society in Paris.

I have also created illustrations for media purposes which of course requires a different kind of focus and line. Clients have included CNN Style - drawings for Nick Glass' 2017 article "State of the art: How will Trump's taste change the White House?" – Journalistbureauet Tank – drawings that attempted to map a conglomeration of buildings in a neighbourhood of Mumbai’s famed ‘slum’ area, Dharavi published in El Pais (ESP) and Information (DK) in 2016 – and a 10-week series of drawings and short stories for Danish broadsheet newspaper Politiken in 2015.

Extending beyond paper, I have created two apparel collections, the first together with fashion developer Vlatko Ðukic at Selected Homme titled Metropolis; the second in 2017 with fashion developer Goran Stanković and the team at Danish fashion house, Mads Nørgaard on a tropically charged art apparel collection that stretched what was possible in textile printmaking.

While a degree of chaos is necessary, I believe, to unearth new channels of creativity and discovering new ways of approaching the creation of images; one’s working environment is of course fundamental. I have experienced working in both temporary studio set-ups, as well as more long term studios that I have built together with the help of many hands.

Interestingly, I have found these environments to often take on fairy tale-like characteristics, with the environments directly impacting the work created and vice versa. Things tend to synchronise, materials take on animated characteristics and you form closer relationships with fundamental elements of art-making – such as your perception of a particular colour – on a frequency otherwise unattainable outside those studio walls. Creating a culture around one’s line is one of the most beautiful things I have achieved, and by that I mean a place of production, sanctuary for my working self, and a welcoming environment for the curious.

As a child there were two things I was especially interested in; flags of countries and taxi cabs. The driving force behind much of the shifting aesthetics of my lines has certainly derived from travel. Much, could be said, is something of a commentary of the process of adjustment one undergoes when thrown into a different environment and set of circumstances.

While I have established the city-line that is exclusively about the interaction between ink and paper – varying by degrees in terms of content, colour and level of detail - the development of new visualia – in the form of paintings, multimedia drawings and other experiments – has so frequently been triggered by new sensory information that I experience when dropped into markedly different environments.

Different cities offer infinitely different textures, quality of light, sounds, smells, modes of dress, architectural shapes that somehow cluster to form similarities in a given city. Let’s take Bangkok, for example: no matter how different all of its elements are spread across the city culminate to create a unified impression that is in stark contrast to another city such as Miami, Madrid or Goa. It is how these complex layers of cities interact with one another to create wildly different cultures that I am interested in. It is in these precise observations that I find stimulation to create these visual responses: how to relay an impression of New York without writing its name or drawing the Empire State.

As well as creating drawings, taking photographs and recording videos, I also commit to finding new drawing materials – both found and bought. This oddball collection of stickers, bespoke papers, pens, pencils, gifts and exchanged goods are also a major part of these travels. Much the same way that a chef may collect samples of flavours while traveling, a similarly colourful operation is going on when traveling for drawings.