"I create psychologically charged worlds in which scale, symbolism, sound and historical painting traditions are used to transform personal experience into collective myth." 

 Artist Statement

I am interested in the psychological and symbolic relationship between memory and belonging. Working across painting, installation, sound and research-based projects, I use flowers, plants, the human figure and autobiographical fragments as a visual language to reveal the uncomfortable angst of longing, grief, transformation, ageing, mythology and the unseen forces that shape our lives.

Although my practice is often associated with botanical imagery, the natural world functions less as a subject than as a symbolic vocabulary. Flowers, leaves and rare plants become vessels through which personal narratives are transformed into broader reflections on human experience. A flower may become a face, a thought, a memory, a loss, a self-portrait or a stand-in for an entire community. Through this process, the personal and the archetypal are allowed to coexist.

My paintings draw upon historical traditions of symbolism, allegory and psychological image-making, while remaining rooted in contemporary experience. Influenced by artists and writers such as Goya,  Jonathan Swift, El Greco, Rory McEwen, Francis Bacon, David Lynch, Kit Williams, Thomas More, De Chirico, Lewis Carroll and Leonora Carrington, I am interested in creating images that operate beyond straightforward representation. Rather than providing answers, I seek to create works that remain active in the viewer’s imagination; images that linger, unsettle and invite repeated encounters.

Recurring themes within my practice include obscuration, fragmentation and scale. Figures, leaves and flowers are partially concealed, forms extend beyond the frame, and elements are deliberately withheld from view. These strategies reflect my interest in the incomplete nature of memory, the tension between what is visible and what remains hidden, and the way meaning is often found in absence as much as presence.

Alongside painting, sound and atmosphere have played an important role throughout my career. From early immersive installations in the dark to contemporary exhibitions incorporating recorded dystopian sound in a London town house, I have sought to create environments that engage the viewer emotionally as well as visually. I am interested in the moment when an artwork moves beyond description and becomes an experience.

At the heart of my practice is an ongoing exploration of how personal experience can be transformed into shared myth. Through symbolic imagery, psychological atmosphere and a dialogue with the history of painting, I create works that inhabit the threshold between autobiography and dream, memory and imagination, the seen and the unseen.