Let’s make something
I’m open to commissions. If you are working on something that needs drawing — a graphic novel, a comic, an illustrated report, a single image — I would like to hear about it.
I am an architect and geographer who uses comics when other forms of expression fail.
My illustration travels across different fields, working with researchers, institutions, publishers and movements.
As an architect, I look at buildings as narratives, and at narratives as buildings. It’s my method for approaching the world around me.
Drawing is not an illustration of the research for me — it is a way of doing it. A sequence can hold contradiction, emotions, feelings, and ways my subjects think. Making a narrative can carry the reader through the experiences of the other they would otherwise put down. If you have something that resists being written, it may want to be drawn.
Below are the five areas I work in, with examples. Most projects sit across more than one. If any of it speaks to what you are doing, get in touch. You do not need a finished brief — a paragraph is enough to start.
1. Visualising environmental (in)justice
I make extraction processes and narratives visible. Land dispossession, resource politics, Indigenous struggle, colonial and extractivist logic, and the infrastructures that make all of it possible.
Bring me a campaign that isn’t landing, a report nobody finishes, or research that deserves a wider public than it’s reaching. I’ll find the sequence that carries it.
Currently making a graphic novel with Dr Dominic Davies on energy infrastructure and grassroots organising in rural Britain.
2. Drawing as ethnographic method
I can turn your fieldwork into a book people finish. Not a report with pictures, but a graphic narrative where the drawing is part of the research, made with the people and places inside it rather than about them.
If you have interviews, site visits or years of ethnographic material that resists being written up, this is what I do with it.
From 2023 to 2025 I convened the Graphic Research Working Group at the Stadtlabor for Multimodal Anthropology, Humboldt-Universität zu Berlin, where researchers and artists met to draw from fieldnotes.
The Red Castle and the Lawless Line worked this way: a border less than a millimetre thick when drawn at 1:20,000, more than five metres wide in the village of Battir it cut through, followed into the houses it passed through.
3. Archives and historical narrative
Give me an archive and I’ll find the story it wasn’t built to tell. Colonial records, planning documents, photographs, files — material that holds a history nobody has yet put in order.
For museums, researchers and institutions sitting on material that deserves a public.
Days of Void took a construction site in Ramallah’s Mukataa, a compound established under the British colonial administration and destroyed in 2002, and told a political transition through the rebuilding of it. Morbid Symptoms, with Cabell and Perugini, extended this into a book and exhibitions on colonial building.
4. Urban politics and human rights
I draw cities from below. Organising, occupation, eviction, refusal, repair.
I follow urban politics and spatial transformation, using the graphic novel to tell the story of how cities change and who changes them.
For movements, housing groups, urban researchers and anyone documenting a struggle over space who needs it to reach beyond the people already involved.
