Nine thirty five

Nine thirty five depicts a young woman standing in front of a large architectural structure, positioned where direct sunlight meets deep shade. She wears a red dress that contrasts strongly against the muted stone tones of the building. The scale of the architecture dominates the composition, with the figure appearing small and almost insignificant in comparison. Her stance is still and neutral, suggesting a moment of pause rather than action. The sharp division of light and shadow emphasises the height and solidity of the structure, while also framing the figure as a focal point within the space.

The building itself is rendered with clean lines and a sense of weight, reinforcing its monumental presence. The surrounding environment feels quiet and static, with no visible movement or other people, allowing attention to focus solely on the relationship between the individual and the imposing architecture. The contrast between the soft fabric of the dress and the rigid surface of the structure highlights the vulnerability of the human figure in a built environment designed on a much larger scale.

The title Nine Thirty Five refers to a clock that is barely visible within the shaded entrance of the building. Set high above the doorway, the clock reads 9:35, subtly anchoring the scene in a specific moment in time. Its presence suggests the passing of time in an otherwise quiet and still setting, reinforcing the sense of pause and isolation experienced by the figure.

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I loved to draw and paint from a very early age. I was fascinated by the capability of artists to bring to life the world around them; to represent form, light and shade; to create three dimensions within two.

Simultaneously I was drawn to photography. From my earliest self-processed black and white prints to the sophistication of modern digital manipulation, I have always taken pictures.

In my professional life I established and ran successful creative businesses in London, Luxembourg, Malaga, Berlin and Sydney. I held senior roles in prominent design practices and advertising agencies, including the creative directorship of Europe's first online service.

More recently I taught design at universities and design schools in Sydney, Australia and Southern Spain with particular focus upon sustainable design thinking, human-centred design and developing successful design practice.

I began my career as a junior illustrator in London. It's therefore appropriate that with more time on my hands these days I should return to my first love.