The apprehended quality of place is to landscape what universality is to the figure—both are found not in likeness but in recognition.

We live in a changed world, and art must find new ways to reflect our entwined relationship with environment and memory. My practice is not bound by genre but by the act of seeing itself—how images take shape through matter, perception, and ambiguity.

I create pareidolic grounds—liminal surfaces where forms remain open, shifting between figure and place. My figures are never closed; they are porous, open to topographical interpretation. My landscapes, in turn, echo how the places we make inevitably make us.

To create these surfaces I use materials drawn directly from the land: limestone from the Yorkshire Dales, chalk and silt-rich soils from Norfolk. Substances rough or unremarkable in themselves become active agents in the work, enabling painting to be an act of embodiment rather than description.

Each piece becomes provisional, open, and part of an ongoing pursuit of understanding—where human traces and human readings bind figure and place together.