About

In a culture that privileges certainty and categorisation, painting allows me to generate a world in which nothing is fixed—a world that slips between realism and imagination, where I paint the threshold: the moment of transformation where one thing becomes another.

Beginning with loose abstract marks, I generate the ground from which my paintings emerge. Using an art historical painting as an anchor, I move between deliberate mark-making and intuitive acts of disruption, allowing the surface to accumulate traces of decision and chance until a new world comes into being. Painting becomes a process of continual negotiation in which forms acquire meaning through their relationships with one another.

Fleetingly recognisable the figures that emerge from the paint are rarely singular or fixed, echoing the complexities of the human condition. Drawing on the visual language of the chimera, they inhabit the threshold between human and animal, the familiar and the strange, suggesting identity not as something we possess, but as something continually constructed and negotiated through our relationships with what surrounds us.

Curiosity about human behaviour drives the content of my work. I am fascinated by the stories people tell and the ways they construct meaning to make sense of themselves and the world. Psychology, sociology and history provide frameworks through which I think rather than subjects to illustrate.

Historical paintings provide another threshold within the work. By reimagining familiar images from art history, I render the familiar strange. Their familiarity offers the viewer a point of entry, while their transformation invites them into uncertain territory.

The life of the painting lies at the threshold, in its resistance, in its unknowability.