STATEMENT OF WORK

My work begins with my surroundings, everyday moments and environments act as catalysts for exploring the boundaries between visual perception and consciousness. I’m drawn to painting’s potential to embrace ambiguity and invite discovery, rather than assert fixed meanings. In my practice, painting functions as both a philosophical inquiry and a process of pattern-making, where surface, colour, scale, time, placement, and accumulation are core components. These formal concerns are grounded by personal, often quotidian subject matter that resists the traditional grandeur and machismo historically associated with painting.

At the heart of my process is a tension between the autonomy of paint and the impulse to construct images. I often begin with formal or material experiments, letting imagery arise naturally. This approach allows motifs to develop organically, returning through repetition and variation. By doing so, I investigate how shifts in form affect meaning and perception.

Recently, I’ve been exploring Gerard Manley Hopkins’ concept of ‘inscape; the external expression of an inner nature. My work engages this idea through stylised cartoon lines, fragmented figures, and compressed visual languages that aim to express the emotional essence of shared experience. Rather than literal representation, I strive for an irreverent but sincere visual language, creating paintings that exist both within and beyond the everyday.