I am a freelance archaeologist and digital heritage specialist based in Cornwall, UK. I work with archaeologists, museums, archives and heritage organisations to recover hidden detail from objects, monuments, inscriptions and recordings, and to turn that evidence into something clearer, more useful and more revealing.

Much of my work begins with close analysis of material that does not give up its information easily. Sometimes that means high resolution 3D scanning and photogrammetry. Sometimes it means enhancing a worn inscription, clarifying a carved surface, restoring a difficult recording, or helping an organisation make better use of digital tools and AI. The methods vary, but the purpose is consistent: to bring out evidence that is easy to miss and help people learn more from it.

I am especially interested in projects where recording, analysis and interpretation need to work together. High resolution surface recording is not simply about producing attractive models or technical documentation. Used well, it can reveal tool marks, traces of wear, faint carvings, difficult lettering and subtle changes in a surface that are hard to see with the naked eye. In the same way, audio restoration is not only about cleaning up sound. It can make speech easier to follow, recover atmosphere, and allow a recording to be heard and understood in a different way.

Over more than twenty years, I have worked across archaeology, museums, archives, exhibitions and digital heritage. My background includes fieldwork, monument recording, historical research, web publishing, digital interpretation, 3D visualisation, collections work, archive projects and audio restoration. Early in my career at Wessex Archaeology I worked with 3D laser scan data and digital public engagement at a time when much of this work was still emerging. Since then, through consultancy, collaboration and freelance practice, I have developed my own ways of working with difficult surfaces, complex objects, degraded recordings and unresolved material. I am constantly researching and developing new skills.

That experience matters. Good results do not come from software alone. They come from knowing how to look, what to test, what to compare, and when a small detail might matter. Years of examining varied and often challenging material have taught me that the most useful outcomes often come from patient, iterative analysis, supported by the right digital methods rather than driven by them.

I have worked with organisations ranging from local museums, archives and community heritage groups to local authorities, national bodies and research-led projects. I enjoy being part of teams where digital work supports bigger questions, stronger interpretation and better public understanding.

I hold a BA in Archaeology and an MSc in Archaeological Computing from the University of Southampton, and I was elected a Fellow of the Society of Antiquaries of London in 2014. More recently, I have also developed practical uses of AI in heritage research, collections work and knowledge organisation, including certified study in prompt engineering, AI tustworthiness and advanced data analysis from Vanderbilt University.

What I do

3D scanning and surface enhancement

I create detailed 3D records of objects, sculpture, carved stone and monuments, then use enhancement and close analysis to clarify what is on the surface. This is especially useful where inscriptions are worn, carving is subtle, or important evidence needs interpretation rather than simple recording.

AI for heritage

I help heritage organisations use AI in ways that are practical, thoughtful and grounded. This can include transcription, exploratory research, collections work, knowledge organisation and workflows that save time without giving up critical judgement.

Audio restoration

I work with already-digitised historic audio to reduce noise, improve intelligibility and make recordings easier to hear and use. This can include oral history, archive sound, domestic recordings and other material where the original content is partly buried under hiss, hum or damage.

Interpretation and public engagement

I have long been interested in how evidence is communicated. My work has included exhibitions, public interpretation, talks, historical research and collaborative projects where digital methods support a wider story rather than standing apart from it.

How I work

I work best where there is something difficult to understand and something worth learning from it.

That might be a carved stone whose details are barely visible, a recording whose voices are buried in noise, a museum collection that needs fresh ways of being explored, or a research project where close digital analysis can help answer larger questions. I am often brought in not simply to make a record, but to help make sense of one.

I value collaboration, and I enjoy working with archaeologists, curators, archivists, conservators and researchers who want more than a technical output. I am at my best where evidence needs to be examined carefully, methods need to be chosen thoughtfully, and interpretation matters as much as process.

Selected highlights

• More than two decades of work across archaeology, heritage, archives and digital interpretation
• Early involvement in 3D laser scanning, surface recording and digital public engagement at Wessex Archaeology
• Published and collaborative work on rock art, inscribed stones, surface imaging and digital archaeology
• Exhibition and interpretation work in both major institutions and locally rooted heritage settings
• Practical experience using AI, audio restoration, digitisation and surface analysis in live heritage projects

Publications, Exhibitions & Talks

My publications, exhibition work and public speaking reflect the range of my interests and collaborations over time, from archaeology and surface analysis to public interpretation, Cornish cultural history and digital heritage.