Statement

Climbers talk about finding “great lines”—routes that flow with purpose and beauty. In painting, I search for the same. Each work begins like a climb: choosing an entry point, occasionally committing to bold moves, and embracing uncertainty. There is risk in both pursuits—the risk of failure, but also the exhilaration of discovery. Sometimes you re in the zone and at other times it's a struggle.

Rather than striving for photographic realism, I embrace the convenience of abstraction and distortion to capture the energy and rhythm of these environments. Colour is my primary language. I use vibrant, contrasting hues—deep blues against warm oranges and yellows—to evoke tension and harmony. Using a palette knife combined with thick brushstrokes create a tactile surface, inviting viewers to experience the physicality of paint as much as the subject itself. Each mark is intentional yet spontaneous, reflecting the unpredictability of light, weather, and time—much like the shifting conditions on a mountain face.

Ultimately, my paintings are not mere depictions of place. They are emotional landscapes.

I think of my style as “abstracted realism.”