My paintings explore the shifting boundary between abstraction and representation through organic form, colour, memory, and imagined space. I am interested in how experiences remain within us—not always as complete narratives, but as sensations, fragments, gestures, and emotional traces. I extend remembered natural forms into abstracted environments and dreamlike landscapes, using depth, line, and layering to create movement and spatial ambiguity.

My process begins with close observation. I study and interpret organic materials, drawing inspiration from gardens, plants, landscapes, and the forms I encounter in nature.

In my recent series, Imagined Landscapes, I do not aim to replicate plants or real-world scenery. I work without photographic references in the studio and rely instead on memory and imagination. Observed forms are altered, simplified, extended, and combined until they become part of an invented visual world. Plant-inspired shapes inhabit environments that move between the familiar and the unknown, interrupting, softening, and rebalancing the underlying structure.

Colour is emotional, spatial, and integral to the construction of each painting. It creates atmosphere, establishes rhythm, and determines how elements advance, recede, connect, or remain separate. My fine-art studies included focused research into colour theory, particularly the work of Johannes Itten, Josef Albers, and Johann Wolfgang von Goethe. Their ideas continue to inform my understanding of colour relationships, spatial tension, and composition. I explore the balance between flatness and depth through the development of shape and the organisation of pictorial space. These relationships between colour, shape, and space energise and drive the work.

My physical relationship with painting has become increasingly important. I work intuitively, responding to the canvas through movement, gesture, and repeated acts of looking. The body participates in the creation of the image, allowing remembered sensations to emerge through colour, line, rhythm, and composition.

I think of these paintings as places of presence and possibility. They do not depict existing landscapes but create environments in which memory and imagination can take visible form. I invite viewers to enter these spaces with their own histories and associations, allowing each painting to remain open, uncertain, and continually becoming.