Starting with a simple compositional sketch, I then let the marks lead the way. Layers are added, scraped back and reworked until the painting finds its own direction. I'm interested in painting the memory or feeling of a place, rather than representing it.

With Cultivated Glitch, hints of cultivated fields and waterways gradually emerged, but I don't set out to paint a particular landscape. I prefer leaving that open, so the viewer can discover their own sense of place.