In an earlier practice note, Something Epic Landscape, I outlined the new structure of the site: five threads designed to map a practice that’s moving constantly between painting, photography, montage and digital work. Since then, that approach has settled, and the focus has shifted to how the work actually enters the space. Rather than building rigid, fixed galleries that lock everything into a final sequence, the site now operates more like a living system.
The homepage acts as a curated stream. At the moment, it randomly selects six images, drawing from across the practice to create unexpected adjacencies. A digital painting might surface beside an ICM street photograph or a quiet observational fragment, letting the underlying continuities of the work speak without needing a written explanation to tie them together.
Each thread — PAINT, ICM, SHIFT, LANDSCAPE and URBAN — opens a wider field. The curation loosens here: five or six images are drawn from a broader batch specific to that thread, offering a sense of its range, rhythm and working logic.
Deeper still are more open collections that sit alongside fixed series and galleries. Collections like Urbis, Digital Paint, Works on Paper, Intentional Movement and Urban Mashup draw from a broader batch again, presenting a wider range of standalone pieces, experimental clusters, works in progress, lesser sketches or studies, and older work returned from the archive. They give a sense of how the images actually emerge through process, accident and repetition.
None of this is fixed. Each time the site updates, the selections within the threads can randomise, throwing up new combinations. The point is not to build a complete archive, but to give the work a container where it can gather, collide and keep moving through.