They say "create the work you want to be hired for" and that's exactly what happened here.

The artwork above, made up of 18 individual silhouette collages, was particularly enjoyable to create and marked a pivotal shift in my journey as a collage artist. Prior to this, my work was entirely digital, with a limited colour palette and a strong photocopied, grayscale aesthetic. I still have a fondness for that style, but I think I’d built up an itch that needed scratching: I wanted to start cutting and sticking things in real life.

The process behind Silhouettes was wonderfully simple. I created a single line head profile stencil and used it to cut endless papers, photographs and textures into two parts. I then began swapping these parts around to discover unexpected and exciting pairings. The meeting of the raw scissor-cut edges gave each silhouette an individuality that I couldn’t achieve digitally, while the overall visual contrast within colours, textures and the handmade elements vs digital refinement opened up a whole new visual language for me. It was also the first time I confidently embraced richer textures, bolder tones and this idea of anonymity through the absence of someone. That silhouette language has since become a defining feature of my work and something that continues to draw commissioners to my practice.

An Art Director at Tablet Magazine saw this piece and contacted me about an upcoming editorial commission (top). I was to visualise the story of one man's journey with dementia and how it brought new meaning to his life in a positive way. And by referencing this existing artwork, I had a great starting point and framework in terms of shape, colour and texture.

If you’re looking for bold distinctive editorial illustration, collage artwork, or animation, I’d love to hear from you!