Studio 308’s practice is rooted in the tactile possibilities of material, texture and process. Working across printmaking, mixed media, design and textiles, the London-based artist and educator explores identity, place and the emotional resonance of everyday environments, drawing inspiration from the layered histories, architecture and overlooked surfaces of the city.
Through found objects, experimental processes and carefully built compositions, Studio 308 creates works that hold a strong sense of narrative without becoming fixed or literal. Colour, surface and form become ways of suggesting memory, atmosphere and lived experience, inviting viewers to consider the traces people leave behind within urban spaces.
Alongside a developing studio practice, Studio 308 also works as an art and design educator, supporting young people in building creative confidence and personal expression. This relationship between making, teaching and material discovery gives the work a reflective quality, balancing structure with intuition and personal storytelling with a wider sense of collective memory.
Are you self-taught, or did you undertake formal artistic training?
I undertook formal artistic training and continue to develop my practice through ongoing experimentation, research and hands-on making. My learning has been shaped as much by studio experience and material exploration as by education itself.
How would you define your visual language or conceptual approach?
My visual language is rooted in texture, layering and process. I am interested in how materials can hold memory, atmosphere and narrative, often balancing structure with spontaneity. Conceptually, I explore identity, place and the emotional resonance of everyday environments.
Can you describe your creative process from conception to completion?
My process usually begins with observation, collecting images, textures, fragments or ideas from daily life and surroundings. From there, I experiment through drawing, printmaking, collage or material tests before allowing the final composition to emerge through making. I value intuition as much as planning.
Does narrative, symbolism, or storytelling play a role within your work?
Yes, storytelling plays an important role, though often indirectly. I am interested in suggesting narratives rather than presenting fixed ones, using symbols, materials and visual references that invite viewers to bring their own interpretations.
Which artists have most influenced you historically or contemporarily and why?
I am influenced by artists who combine strong material language with emotional or social depth, such as Louise Bourgeois, Tracey Emin, Anselm Kiefer and contemporary printmakers who push the boundaries of process. Their honesty, physicality and commitment to personal language resonate with me.
What personal, cultural, or environmental influences shape your practice?
Urban landscapes, lived experience, memory and the textures of everyday life strongly influence my work. I am drawn to overlooked spaces, found materials and the traces people leave behind within environments.
Where is your studio based, and how does the space inform your creativity?
My practice is based in London. Being surrounded by the city’s layered histories, architecture, markets and contrasts continually feeds my ideas and offers an endless source of visual inspiration.
Do you have any rituals or rhythms that anchor your studio practice?
I begin by gathering and arranging materials, reviewing sketches or notes and allowing time to experiment without pressure. Establishing a regular rhythm of making, reflection and revisiting work helps keep the process active and open.
What bodies of work or projects are you currently developing?
I am currently developing work that explores place, identity and material storytelling through printmaking and mixed media. Recent projects draw on London imagery, found surfaces and layered compositions that connect personal and collective memory.
Where can collectors encounter or acquire your work?
Collectors can encounter my work through exhibitions, selected open-call projects, art markets and direct studio enquiries. I am also developing new opportunities to share and sell work through online platforms and events.
