Art x Adẹ

This painting was inspired by a photograph my daughter sent to her mother while she was in Brazil. The image captured a landscape where a mountain rises behind a line of buildings, with a river and a road moving gently through the scene and dense vegetation spreading across the foreground. Rather than attempting a precise reproduction of the photograph, I approached the scene as an interpretation. The mountain stands as a quiet but powerful presence, while the buildings beneath it represent the modest footprint of human life within a vast natural environment. The river and road guide the viewer’s eye through the composition, suggesting movement and connection across the landscape. The foreground is filled with vibrant vegetation and varied colours, reflecting the richness and vitality often associated with tropical environments. A lone palm tree stands prominently, acting almost like a marker between cultivated space and the wider natural world. Although inspired by Brazil,...

Introduction Human life is often experienced as a series of decisions, reactions, and outcomes. Yet behind every action lies a deeper structure that shapes how we think, feel, and behave. Over time, I became interested in understanding how this internal structure influences the way people live their lives and respond to challenges. The two models presented here were developed as part of my Self-Coaching Workbook published in 2011. Their purpose was to provide a simple but practical framework to help individuals reflect on their thinking, understand the sources of their behaviour, and make better decisions about the direction of their lives. The first model, The 9-Step Ladder, explores how a person’s life gradually unfolds from the inside outward. It shows how fundamental elements such as values and beliefs influence expectations, attitudes, and thoughts, which in turn shape actions, habits, character, and ultimately destiny. The ladder illustrates an important principle: long-term outc...

“Multiculturalism” is my visual reflection on living within a densely layered society, particularly my experience of London, a city where the world meets, overlaps, and continues moving. This painting presents a field of human silhouettes standing together on a shared ground of luminous green. The figures are intentionally faceless and undefined. By removing facial details, I shift attention away from individual labels: race, nationality, status and instead emphasise presence. Each form is distinct in colour and posture, yet none dominates the canvas. The green background represents common ground,  the space we all inhabit regardless of origin. It is energetic and alive, suggesting a society that is dynamic rather than static. The vertical arrangement of the figures evokes movement: a crowd in transit, people passing through time, cultures intersecting without necessarily dissolving into one another. The layering of colours reflects diversity in its broadest sense. ...

This painting reflects the harsh reality of life in the cotton fields during slavery, where men and women laboured under relentless conditions. The heavy white cotton dominates the landscape, symbolising both the burden of forced labour and the economic wealth built upon their suffering. At the centre stand two figures, weary yet dignified. Their bowed heads speak of exhaustion, but their upright bodies speak of resilience. Behind them, the vast field stretches endlessly, watched over by distant authority, while above them the burning sunset sky glows in deep red and gold. The sky is significant. It represents time: moving, unbroken, and eternal. Though oppression surrounded them, the same sun that witnessed their suffering also bore testament to their endurance. This work is not about blame. It is about remembrance. It honours the strength of those who endured, who survived, and who carried forward the human spirit under the weight of history.

In 2004, I founded Minicabanywhere.com, a location-based minicab dispatch concept built on geospatial intelligence. The idea did not start in a boardroom. It started with observation. A friend of mine was running a minicab business in Elephant and Castle. By watching the daily operations, the phone calls, address confusion, dispatch delays, and inefficiencies, I began to see a pattern. I realised that the real problem was not the drivers. It was the lack of spatial precision. At the time, smartphones did not exist in the way we know them today. App-based ride-hailing was unheard of. Yet I believed technology could remove friction from the system. Using MapInfo Professional, UPRN (Unique Property Reference Numbers), and advanced geocoding techniques, I mapped every identifiable property within Southwark Council. The model allowed: • Every property to be digitally identified at the touch of a button • A central 0800 number for passengers • Any registered minicab with...

In this work, red is not just a background.  It is a force descending unapologetically, shaping and reshaping everything beneath it. What began as structure in black and white becomes transformed under the authority of colour. The drips are not accidents; they are evidence of movement, of emergence, of energy asserting itself. This painting was not constructed so much as witnessed. As the red evolved across the canvas, it revealed the primal power of colour, demontrating how it governs space, alters meaning, and gives birth to new form. What lies beneath is not erased but redefined. Here, creation is not gentle; it is dynamic, pressing forward, breaking through and becoming. Breaking Forth is a meditation on transformation on the moment when energy overtakes restraint and something new insists on being seen. It is an exploration of colour as agency, of change, of evolution in motion, and of the quiet awe that comes from watching creation shape itself.