My practice spans fiction, music, memoir, and visual form, and is structured around memory, time, and perception understood as systems rather than themes. I am interested in how experience is reorganised after the fact—how attention, repetition, and omission reshape events into structure, and how narrative can function less as sequence than as a method of arrangement.

I work across writing, sound, and image, developing composition as a system of thinking rather than expression. Across these forms, I return to the same material in different registers, testing how meaning shifts when it is re-encoded through changes in medium, order, and structure.

I am the author of Photo Booth, The Desert Lake (its companion work), and Jigsaw Puzzle, a self-published text released under the musical alias Ragman Jones. These works form a continuous practice rather than separate projects, moving between literary, musical, and visual contexts without clear separation between disciplines.

Alongside this, I am developing memoir work including Red Mesa, which engages more directly with lived experience while remaining concerned with the instability of recollection—how memory edits, compresses, and reconfigures itself over time into patterns that are experienced as continuity rather than sequence.

Under Ragman Jones, I also produce music that sits between composition and writing. These works are structured through rhythm, repetition, and fragmentation rather than conventional song form, extending the same concerns that run through the written work into sound.

A late diagnosis of autism has provided a clearer framework for understanding an existing mode of practice: sustained attention to pattern, detail, and repetition, alongside a sensitivity to structure, sensory intensity, and interruption. This is not treated as subject matter, but as an organising condition that informs process, selection, and arrangement across mediums.

Across the work, I think in terms of composition as a way of thinking rather than expression. Texts, recordings, and visual arrangements are developed as complete structures—books, finished pieces, and recorded works—rather than fragments or studies.

The work has circulated within literary and artistic contexts, and has been taken up by other practitioners in ways that extend its use beyond its original form.

Current focus:
Current work develops across memoir and cross-disciplinary composition, extending Red Mesa alongside new writing and recorded material under Ragman Jones. I am particularly interested in how structural approaches to narrative and sound can be carried further into long-form work, where repetition, fragmentation, and sequence operate as primary compositional tools.

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