Port
folio
My practice moves between painting, mixed media and spatial work, exploring how we experience ourselves, one another and the worlds we inhabit. I am interested in perception and belonging, in the realities we carry internally and collectively, and in how images and spaces can shape who is seen, who is given space and what we understand as familiar.
Colour is central to how I construct an image. I use it compositionally: to establish rhythm, direct attention, create tension, connect otherwise separate elements and shape atmosphere. Bold colour, play and experimentation allow uncertainty and unexpected relationships to become part of the process. Trained as an architect, I approach art spatially too: through boundaries, viewpoints, movement, hierarchy and the relationships between elements.
Underlying my practice is a belief that art belongs everywhere and to everyone: it should be part of everyday life, something people can encounter, recognise themselves in, question and respond to without needing specialised knowledge to enter the conversation.
THREADS
OF
REALITY
Threads of Reality explores the ways our inner worlds touch, clash and intertwine, and how imagination and perception shape the way we experience life. The works grow from an interest in the realities we carry within ourselves and those that belong to others: the contradictions between what is visible and what is lived, between one perspective and another, and between what makes sense and what does not.
Strangeness, contradiction and dissonance are not treated as flaws to be corrected, but as essential parts of being human. The series moves between the wild and the controlled, the seen and unseen, madness and sense, allowing several truths to occupy the same space without demanding that one defeats the other. At its centre is a question of connection and belonging: how can we encounter realities different from our own without demanding agreement or erasure?
REMEMBER
WHEN WE
PLAYED?
VARIATIONS ON
A FAMILIAR
WORLD
Variations on a Familiar World is an ongoing line of inquiry into how familiar images can be dismantled and reconstructed to tell different stories. Its starting point is A Regular Day in Guernica, made in 2015 using the recognisable spatial structure of Picasso’s Guernica while imagining the same place if the bombing of 1937 had never happened.
Fear, destruction and death are replaced by ordinary life: a parent putting a child to sleep, people falling in love, neighbours and animals sharing the street. More than a decade later, the work has become the methodological starting point for a new body of work investigating how compositions embedded in collective visual memory can be re-examined from the present.
MONOTYPES
These works began through an exploration of organic forms and the visual language of nature: shapes that grow, repeat, overlap and resist complete control.
Working with a Gelli plate, I build images through layering, transfer, repetition and chance. Rather than fixing the composition in advance, I allow each layer to respond to what came before, using experimentation and accident as part of the image-making process. Each work is unique, as the process cannot be repeated with exactly the same outcome.
The works are printed with acrylic paint on 200 g paper, 29.7 × 21 cm.
PUBLIC
ARTWORKS
I believe art belongs everywhere and to everyone, not only in galleries and cultural institutions. These works bring painting directly into shared urban environments, using existing infrastructure as a place for colour, text and unexpected visual encounters within daily routines.
In public space, art can be encountered without permission, prior knowledge or the feeling that you need to know how to behave around it. By moving work outside conventional art spaces, I aim to challenge the gatekeeping that can make art feel distant, exclusive or inaccessible. Ordinary functional structures become places for curiosity, recognition and reflection, creating small moments of connection in the streets and spaces we already share.
SELECTED
EARLIER
WORKS
These selected works trace recurring interests that have moved through my practice over time: colour remains a compositional language, nature and the relationship between internal experience and the environments we inhabit. Some begin with specific landscapes or places, while others turn towards emotional states, neurodivergent experience or the pressure to measure our worth through productivity.
Across these different subjects, colour remains a compositional language rather than decoration. I use it to organise relationships, build atmosphere and hold together images that move between observation and imagination.
