Statement

My practice is rooted in the fundamental belief that abstraction is a living, breathing language – something visceral, luminous and experiential. The work exists in a space where colour becomes energy, surface becomes terrain and structure emerges through the act of making, not preconception.

Colour is not decorative, but dynamic and central to the work. Colour holds the weight of sensation and carries the emotional temperature of the piece. My palette shifts between restraint and saturation, creating moments of collision and resolution, harmony and dissonance. These chromatic relationships give the work its pulse.

I approach each painting as a site of encounter. There is no road map, no fixed outcome – only an unfolding relationship between mark, hue and spatial tension. The gesture is intuitive but not accidental; it is the result of an ongoing dialogue between intention and resistance. Through layering, erasure and reworking, the surface accrues a kind of memory – a history of it's own becoming. They are not designed to be deciphered, but experienced – physically, optically, emotionally. They ask the viewer to slow down, to attune to nuance, to engage the work not through narrative, but through presence.

My work is the result of how I think through the complexities of perception, place and self. The work is a record of that thinking, offered as a space of open encounter where the viewer starts to assemble their own visual grammar. I am grateful for the inspiring work of Howard Hodgkin, Pat Passlof, Mark Tobey and the still lifes of Francis Cadell, amongst others.

photo: @felixmccabephotos