Not Ash. He arrived in Scotland looking for a canvas, not to fit in, but to carve something new.

Born and raised in London to Afro-Caribbean parents, Ash grew up in motion. By sixteen, he had attended eight different schools,  and each move came with new systems, new social codes, new expectations. You would expect that this would have unsettled him, but it sharpened him instead. He learned how to read rooms, how to understand structures quickly and how to stand independently.

At sixteen, he was living on his own and responsibility became his daily reality.

His father had come to the UK with very little, working steadily and building carefully. There was a habit Ash remembers clearly. Discarded wood left on Tottenham streets would be carried home, reshaped and repurposed. Where others saw waste, his father saw possibility.

That quiet act of reclamation stayed with him.

Today, Ash works with wood again. Sometimes reclaimed, sometimes timber felled during storms in Aberdeen. Material, for Ash, is never neutral. He believes it carries history, memory and touch.

Ash is the founder of Evocomb, a brand centred on sculptural, hand carved adornments designed specifically for textured hair. He does not call them accessories. He calls them Statement Art and when you see them, you understand why.

Each piece sits on the head with architectural presence, looking like when a natural form meets futurist intentions. They are bold without shouting and structural, without losing softness.

Evocomb centres textured hair, from wavy to tightly coiled, honouring its structure and movement. In a world where textured hair has often been politicised, diminished, or misunderstood, Ash approaches it with reverence.

Hair, in many African cultures, has always been language. Before erasure, before suppression, before systems tried to flatten identity, hair communicated status, spirituality, belonging. Ash’s work lives in that lineage and also pushes forward.

His academic journey spans engineering, law, and philosophy. Engineering taught him how to build with precision, law taught him how systems grant and restrict ownership and philosophy taught him to sit with complexity. However, it is art that gives him permission to imagine what does not yet exist and that is why Evocomb is not stopping at wearable pieces.

Ash envisions larger sculptural works for gallery spaces. He is developing narrative film ideas, speculative, science fiction inspired explorations of hair, identity, and time. One imagined storyline positions Evocomb as an ancient artefact discovered in the present, revealing futures where textured hair is celebrated, not controlled.

Scotland has become fertile ground for this vision. Over the past decade, Ash has built both his academic and creative life here. He thrives on collaboration, bringing together photographers, stylists, designers, and thinkers to build culture, not just products.

Evocomb is still in its early chapters. It began quietly, with wood, sketches and patience, but there is something undeniable about work that feels both ancestral and futuristic at the same time.

In Ash’s hands, the head is not just where hair grows. It is where identity sits, where memory rests and where quiet power lives. This is where Evocomb began, carved from history and designed for the future.