Practice

My work is grounded in the belief that painting is not simply a means of presenting an image, but a material process through which thought becomes visible. The surface is approached as a site of negotiation between intention and the resistant, often unpredictable behaviour of paint itself, where meaning emerges through revision, persistence, and sustained looking.

Trained at the Royal College of Art, my practice has developed through an ongoing engagement with painting as both a physical and intellectual activity. Time plays a central role in this enquiry. Rather than seeking immediate resolution, the work often evolves through repeated adjustments, allowing earlier states to remain faintly legible so that the history of the painting’s making continues to inform its present.

This iterative approach treats the painting less as a fixed statement than as the provisional equilibrium of many decisions. What matters is not only what is depicted, but how the image comes into being, how structure is discovered, tested, and reconfigured through the act of painting itself.

Situated within the living tradition of figurative painting while attentive to the expanded possibilities of modern practice, the work asks what painting can still do: how materially intelligent surfaces might hold duration, register attention, and invite a slower form of looking.