My response to the landscape is immediate and physical — I feel it before I paint it. I begin with urgent, gestural marks in fluid inks and thinners, often scratched into the surface with found objects. The process is raw and intuitive — led by sensation more than precision.
Though shaped by frequent moves, my work is rooted in place. I’m drawn to quiet, often overlooked spaces — paths, riverbanks, edges of land — and seek to reveal their subtle beauty through painting.
Material is central to this exploration. I work on surfaces like cardboard and copper, choosing grounds that shift expectations: cardboard, fragile and transient, reimagined as permanent; copper, solid and luminous, elevating the ordinary. Both mirror the tension I feel between rootedness and transience.
My work hovers between representation and abstraction. I’m drawn to structure and reduce what I see to its simplest forms. Colour is central — used instinctively and expressively to evoke the feeling of place.
At its core, my practice is an act of listening — to the land, to my environment, and to myself.