Falling Away

Falling Away cover

Falling Away


In 2021, Falling Away was staged in the University of Westminster’s exhibition space, Ambika P3, inspired by and in connection to the research by David Deriu into the phenomenon, experience and metaphor of vertigo in the city and society. The exhibition was the first retrospective of the artist Catherine Yass, and presented a number of vertiginous film installations from the past two decades of her extensive body of work.

I was commissioned to design the book created in response to the exhibition, comprising essays by art writers, historians and critics as well as by the exhibition’s curators, reflecting on the subjects and tacit commentary of Yass’s works. The films staged portray architecture in a state of construction, abandonment or demolition, provoking thoughts about the conditions of social and psychological instability in which we currently live.

Printing proof files of the exhibition book Falling Away
Falling Away Exhibition book spread

Working with the artist and curators, I designed the book in response to the specific format of Yass’s film works to best present still freeze frames from the works, alongside the essays about each film. Supporting the curators, I copyedited and proofread the material, and liaised with the printers to ensure the finished book was produced to the correct standards and delivered on time. Created in connection to Deriu’s research, the book has been made available online.

Falling Away - Exhibition book - Davide Deriu introduction Falling Away – Exhibition book – Davide Deriu introduction

Eldred Evans’ Water colours

Eldred Evans // Watercolours proofs

Eldred Evans’ Water colours

Book Design & production

I was approached by architect and artist Eldred Evans (1937-2022) to design a book of her watercolour paintings. Designed to complement the one published about her architecture works with David Shalev [Evans + Shalev, by Joseph Rykwert (Circa Press 2020)], the book presents a selection of predominantly postcard-sized watercolour paintings produced by Evans between 2004 and 2016.

Experimental in nature, these paintings range from still life and landscape depictions to architecture and cityscapes and topical reflections of news and sporting events. Working in watercolour, pencil and acrylic, Evans’ paintings capture the warmth and ambience of different geographies including southern Spain, although most represent the landscape they were created in – St Ives, Cornwall.

Eldred Evans Watercolours is published by Chasing Shadows Press, and available from select bookshops.

Title page: Eldred Evans, ‘Watercolours’
Index pages: Eldred Evans, ‘Watercolours’
“Sails”: Eldred Evans, ‘Watercolours’, p.115

Will Alsop Painting Archive

Introduction to Seeing Things Differently

Will Alsop Painting Archive


The Marco Goldschmied Foundation was looking at ways to utilise their collection of paintings by architect Will Alsop (1947-2018). I was approached by the charity, which supports organisations providing opportunities for the study of architecture and the arts, particularly to students from underprivileged and disadvantaged circumstances, to help them create strategies for the archive of paintings, beginning with a full and detailed catalogue of the collection; considering ways to utilise the collection for specific fundraising possibilities for education and dissemination of the collection; and developing overall branding and outreach strategies for the Foundation. 

In 2022, the journal Architectural Design published a special edition focused on Will Alsop to mark what would have been his 75th birthday. I was asked to write an article to contribute to the journal, reflecting on the painting collection held by the MGF.

The article looked at Alsop’s history with painting and representation, from his time at Northampton Art School, education at the Architectural Association in London, and most significantly his chance encounter with sculptor Bruce McLean at Riverside Studios, Hammersmith, which turned into a lifelong friendship. Alongside this, by focusing on specific paintings from the MGF collection, the article considered Alsop’s greatest skill: his ability to understand how painting could capture an emotion, enabling an inclusivity of conversation between users, clients and the design team about a scheme which transcended the boundaries created by technical and architectural plans.

Seeing Things Differently Article“Seeing things Differently: Painting, the object and the art of conversation” – article written by Clare Hamman for Architectural Design, September 2022