Rooted in drawing, my practice is an ongoing investigation into mark-making, gesture, and the calligraphic line; into the ways meaning is constructed, dissolved, or withheld through the act of inscription.

I am drawn to the slippage between text and image, to nostalgia and homesickness, and to the workings of memory. Recent works explore the idea of the palimpsest: the writing and overwriting of histories, and the residue that remains and emerges.

My experience as a journalist and marketer has sharpened my interest in truth, myth-making, representation, and miscommunication. The gestural layers of paint and ink, the distortion of fabric, industrial coverings and paper, echo the continual rewriting of narrative and retelling of stories. Surfaces become sites of revision and resistance.

I imagine my paintings as spaces bearing the scars of human occupation; once inhabited by conversation, domesticity, play or industry, now deserted and slowly reclaimed by elemental forces. Land surrenders to weather, and time; rusted architectures dissolve, infrastructures sag and things that were once certainties are now unclear.

These works propose a speculative and dreamt archaeology,  imaginary landscapes that feel both light and laboured. A strata of lived experience that becomes sacred debris, absorbed through time and folded into memory.

Alongside my studio practice, I am co-founder and creative director of Dunlin Press, a small independent publisher and art project, where I design the books and cover artwork for each publication.

I am an occasional illustrator for St Martin’s Press, New York, and am regularly commissioned as a feature and cover artist for a variety of print magazines and journals.

I trained in art at Chelsea College of Art and in history of art at the University of Essex.  I am currently on  Turps Banana CC 25/27 and Estuary Dreams Academy and I am an alumni of  The Other MA (TOMA) 24-25.

CONTACT ME

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