I work intuitively across painting, drawing and clay, using repetition, gesture and material to develop a personal vocabulary of marks and forms. I am interested in the space between abstraction and recognition: the moment a shape begins to suggest something familiar without fully becoming an image. Marks move between drawing, handwriting and painting, changing through pressure, speed, scale and repetition.

My work draws from an ongoing dialogue between interior and exterior worlds. Landscape, light, natural forms and the intimate spaces I inhabit are absorbed alongside memory and emotional experience, often returning indirectly through colour, texture and form. I am less interested in describing these experiences than in allowing fragments of them to surface through the process of making. A form may be repeated, enlarged, buried or partially erased until its original reference becomes uncertain.

Through layering, scraping, adding and subtracting, I build surfaces that retain traces of their own making. I try to resist resolving everything within a work. This openness is important to my practice: it allows a mark to carry an emotional quality without having to illustrate an emotion. Across painting, drawing and clay, I am interested in how a small vocabulary of gestures can continually shift, and how something deeply personal might be communicated through the physical language of making.