Combo of charcoal, gouache, ink and watercolour; not exactly realism but the folds of the fabric suggest volume.

Watercolour and pen tongue-in-cheek commentary on the Karen phenomenon.

A looser approach to realism, still with some effective skin textures, not finely rendered. Acrylic, gouache, ink, bit of everything.

A recent exercise in minimalism, this uses thin paint in limited colours to resemble an old photograph or lithograph.

Also done during lockdown, this comical scenario amused me while I was practising some charcoal drawing.

This charcoal sketch was a technical exercise in tone and detail.

This largish oil on board was inspired by the lockdowns, and the sense of limbo, being on hold, waiting. The angel sits dejectedly surrounded by objects of decreptitude.

A baby little canvas which gets more realistic the further you get away.

An early foray into skin tones and realism using oil and enamel.

Recently finished oil on board, I wanted to say something about the sassy resilience of the younger generations despite adversity, and the ease with which they express themselves.

Charcoal closeup of a friend checking his eye; a purely tonal work.

This is a more classical approach to oil painting with many blended layers building up the tones.

Another mini portrait completed using a very small brush. Oil on canvas. Conrad Veidt was a German silent film star, with a very striking face.

Using oils to capture the brassy tones and shapes of this athletic danseur.

Conte on rag paper drawing... I was commenting on the disposable nature of troops, from a tactical point of view.

This small work uses thin layers and washes to try and achieve a retro antique vibe.

Tiny painting with a renaissance vibe. The canvas weave is clearly visible.

This oil on board was an attempt to mimic photographic tones, and also to make a statement about our dreams and aspirations, many of which are prevented by circumstance, gender, status or class.

A multi panel oil on canvas depicting strength and fragility, masculinity and nurture.

Focusing on skin textures and tones, this danseur's arms almost go into abstraction because of the extreme muscle definition. Oil on board.

Charcoal on paper of a friend's little girl.

Loosely inspired by the work of Jeffrey Smart, whose deserted urban scenes are very evocative of isolation and foreboding. Oil on small canvas.

More of a technical pen drawing, included as an example of different approach.

Danseurs have always been a great inspiration to me, and I hoped the vigour and sense of freedom shown by this professional leap carries through. It was a rather time-intensive task to complete this oil on canvas, and I tilted it to make a more dynamic composition.

Portrait of my friends after their wedding... the reference pic was black and white, so I had to invent some skin tones.