About me

After briefly attending art college, I left and fell into the wild west of music videos in the early '80s. With no training in filmmaking, I found my lack of knowledge to be an advantage. Music videos thrived on creativity and breaking the rules, so I eagerly jumped in as a Production Designer for bands like Madness, Squeeze, Kajagoogoo, Captain Sensible, Nick Kershaw, and Debbie Harry.
Five years later, I found myself in LA for the MTV Awards, where I won Best Art Direction for my Squeeze video. To my delight, I realized I had one of the coolest jobs on the planet.
Responding to an ad in The Face seeking "young creatives," I applied alongside 2,000 others and won my golden ticket to the Willy Wonka chocolate factory of music videos - Godley and Crème's Medialab. Their brief was simple: do anything, just nothing that's been done before. I spent two incredible years there, learning to turn ideas into reality. It was how I thought art college was going to be, except with insane budgets. I worked with legends like David Bowie, Eric Clapton, Howard Jones, Fergal Sharkey and U2.
A serendipitous find of a 16mm camera at a car boot fair led to a decade of globetrotting and photography. I captured unforgettable moments with bands like Blur, Pulp and The Prodigy. I've witnessed sunrises over Timbuktu, experienced the endless daylight of the Arctic, and even melted my shoes on a lava field to get the perfect shot.
As the Millennium turned, I embraced a new direction in Motion Graphics and 3D modeling, seamlessly blending my production design and cinematography skills.
In 2003, I joined Cape Farewell's expedition to the Arctic on a schooner full of artists and scientists to raise awareness of climate change. There, I created work, exhibited it, and finally earned my full artist license, allowing me to drive anything up to and including tanks (as long as the tank contain fish).
In 2015, I heeded the siren call to rest under a hedge and began training as a rural tramp, trespassing and exploring local haunts in search of the un-mapped territories of the itinerant, migratory, and dispossessed.
After five years of wandering, I was granted a grace-and-favor tenancy of a small woodland. I set up a bodging camp where I now make ladders, bowls, idols, and the occasional chair, spending most of my time lying in a hammock admiring the trees above.
Driven by a desire to work in the real with others, I've discovered an ambition late in life: to make four films in the next ten years, they all involve exploration, from the endotic to the cosmic.