I started practising art from the age of about three onward. I held a particular liking for caricatures, cartoons and portraits. During my teenage years I recall drawing a picture of Disney’s Mickey Mouse on Microsoft Paint with a decently steady hand to gain accuracy. I enjoyed the challenge, which eventually paved the way to specialising in minute and detailed pieces as I do now.

Raised in the UK by a Lebanese father, I grew up bridging different cultures which deeply shaped how I see the world. From the age of one, I was travelling between countries, absorbing the architectural styles of different cities and the quiet details of domestic life. This early exposure to diverse environments left a lasting impression, sparking a lifelong interest in the structures that define place and identity.

In my early thirties, I took a solo journey through Slovakia and Poland with the intention of creating something meaningful from the experience. Instead of taking photographs, I chose to draw - capturing the interiors of the apartments I stayed in with pen and paper. It became a kind of respite, a way to connect with space and memory through observation. During that time, I discovered a love of line, detail and the meditative quality of drawing buildings from the inside out.

My niche is increasingly miniature with a focus on capturing innate detail. I do not use measuring tools or rulers to prepare or line up my work. Everything is keenly created by observation which I believe brings forth a very personal and organic interpretation of the build and scape. Whilst accuracy is a focal point and a challenge I enjoy, I also focus on developing my own style as I go along.

Paper: Moleskin sketchpad paper (cream coloured pieces) & 140 - 160gsm all media acid free cartridge paper.

Tools: HB pencils to sketch. 0.03mm Unipen (black) fine-liner to line up and Faber-Castell/Tombow artist brush pens for colour.

Depending on the complexity of the work depends on how I approach it. Generally I sketch a brief outline of small sections part by part before I get to work on the detail. I then fine-line my work within each stage before moving onto the next. This allows me to focus on a more methodological and steady approach, taking time to honour the patience and meditation in slowly build up a picture.

With simpler structures I may sketch out the full outline and focus more on capturing the essence of a place or a build, rather than every detail. These little projects are practised between large ones and typically takes a minimal amount of time i.e. a few hours. An example is the monochrome Oban drawing seen in my Portfolio collection.

• Art Nouveau, Baroque and Rococo designs for their grand, decorative and ornate structures.

• Urban Japan for streetscape aesthetics.

• Chinese, Japanese and Korean temples.

• Persian and Uzbek mosque’s for colour and intricacy.

• Creative and unusual modern architecture such as the works of Zaha Hadid.

• Leeza Soho, Beijing (specifically, the interior atrium).

• Temple of Heaven, Beijing.

• Catherine Palace, Saint-Petersburg.

• St Basils Cathedral, Moscow.

• Brussels Town Hall.

• Shah Mosque, Esfahan.

• Palace of Versailles (specifically, the ‘Hall of Mirrors’)

• Madurai Meenakshi Amman Temple, Tamil Nadu.

• Milan Cathedral.