The bastardized stealth boomerang is not be defined by its cloak and mask of mediocrity, for satire is a paranoid genre of fiction, the
building blocks for which may be as engaging in their construction as these occasionally delicate, more often, intense and concentrated visual forms. Here, a vernacular poker-face, the faux British-dogmatist façade of Chris Morris, is married to the muted rage of the Victorian parlour subversive whose audacious kingdoms of fantasized
omnipotence are almost swallowed but still dimly visible, compacted and strangulated within a “Brontë Truck.” Elsewhere the brush-marks
turn loose and monochromatic around another scabrous English
character, that of a jaded, defunct Vorticist monster, shaking
a bellicose fist at the sky.
— Laurence Figgis

Selected solo exhibitions: 2003: Andrew Mummery, London; 2002: School of Art residency, Glasgow; 2001: The Project Room, Glasgow.
Selected group exhibitions: 2003: East International, Norwich Gallery; Haunted Swing, Collective, Edinburgh; 2002: Hamstead Achieved, K Jacksons, Edinburgh; Presence: New Art in Scotland, Fruitmarket, Edinburgh; 2001: Young Young Dragons, Proto Academy, Edinburgh; Republic of Leather (People’s), Generator, Dundee; 2000: Louder than Love, De Zeup Cultural Institute, Brussels; Medium-Sized Objects,
One in the Other, London.