A sustained engagement with gestural mark-making and material responsiveness is central to my approach. I employ elements of automatism, allowing the physical properties of the medium to inform the compositional plane and disrupt predetermined outcomes. I am particularly interested in the role of imperfection, contingency, and resistance within material processes, working directly with the surface to foreground these qualities. This methodology seeks to suspend overtly rational decision-making in favour of a more intuitive, embodied mode of making, through which the material is permitted to move, pleat, contract, and furrow according to its own logic.

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My surfaces emerge through a rigorous cycle of layering, accumulation, and revision, producing fields in which colour, form, and gesture coalesce. I create compositions that occupy a threshold between abstraction and recognition by marrying the fluid, contrasting textures of oil paint and pastel beneath structural layers of resin. These works evoke fragments of landscape or memory—specifically echoing the spatial, eroded qualities of coastal and geological formations—while remaining resolutely indeterminate. Through a balance of chance and deliberate intervention, the work resolves complex visual tensions, resulting in compositions that are both structurally considered and materially open, inviting sustained looking and reflection on process, temporality, and perception.