About

I build worlds that other people live inside.

Right now that means science-fiction universes, game worlds running on generative systems, and a new one in production I can't talk about yet — made by building with each new generation of AI tools as it arrives, the same way I've always used whatever was new. The method hasn't changed in twenty-five years: build a space, seed it with characters and story, hand it over, and find out what people do with it.

I have been doing this since before the tools had names. In 2001 I built a website and a forum that became the first online home of grime, dubstep and UK garage; the animation that grew out of that room entered the BFI National Archive in 2026, and the work that followed has been exhibited in London, Shenzhen and Beijing and auctioned at Bonhams. The technologies were different each time — forums, animation, 3D, collectible art, AI — and none of them were the subject.

The subject is the space itself: what people build when you hand them a world and step back. My work is the architecture of that handover — the characters, the lore, the room, the invitation.

Underneath that is the same instinct: get there before the frequency's crowded. A pirate radio dial, an unwatched forum, a JPEG nobody trusted yet, a model nobody trusted yet — different equipment, same principle: find where something is actually broadcasting, before anyone official is tuned in. I've spent twenty-five years building the receivers early. Tune into a frequency that's genuinely live and you get static along with the signal — interference, complaints, the odd cancelled talk. I've learned to read that as proof, not failure: you don't get static from a dead channel. I'm still building receivers. I still don't know what I'll pick up next. Some call the static interference. I call it the interesting part.