Shadow Urn III
Charcoal on paper
8in x 6in /
2025
This charcoal drawing is part of a series exploring the beauty, and darker histories that lie beneath European ideals of beauty embedded in Georgian and Federal architecture. This small charcoal drawing is based on an urn seen in the shadows of an old photograph of Robert and James Adam interiors.
Classical ornament is embedded in the psyche of people all over the world—an artifact of colonialism that still defines places today. Artworks like this one come out of my own internalized architectural Eurocentrism, and my disdain for this very attraction to notions of European ideals of beauty.
For me, drawing architectural details, is a sort of re-remembering and reworking these harmful narratives, and rewriting the narrative to be more relevant to us today.
Ships flat packed.
Charcoal on paper
8in x 6in /
2025
This charcoal drawing is part of a series exploring the beauty, and darker histories that lie beneath European ideals of beauty embedded in Georgian and Federal architecture. This small charcoal drawing is based on an urn seen in the shadows of an old photograph of Robert and James Adam interiors.
Classical ornament is embedded in the psyche of people all over the world—an artifact of colonialism that still defines places today. Artworks like this one come out of my own internalized architectural Eurocentrism, and my disdain for this very attraction to notions of European ideals of beauty.
For me, drawing architectural details, is a sort of re-remembering and reworking these harmful narratives, and rewriting the narrative to be more relevant to us today.
Ships flat packed.
Charcoal on paper
8in x 6in /
2025
This charcoal drawing is part of a series exploring the beauty, and darker histories that lie beneath European ideals of beauty embedded in Georgian and Federal architecture. This small charcoal drawing is based on an urn seen in the shadows of an old photograph of Robert and James Adam interiors.
Classical ornament is embedded in the psyche of people all over the world—an artifact of colonialism that still defines places today. Artworks like this one come out of my own internalized architectural Eurocentrism, and my disdain for this very attraction to notions of European ideals of beauty.
For me, drawing architectural details, is a sort of re-remembering and reworking these harmful narratives, and rewriting the narrative to be more relevant to us today.
Ships flat packed.