This series of paintings explores the quiet, inevitable passage of time through the intimate artifacts that surround us. Objects—mirrors, fabrics, heirlooms, and organic materials—serve as witnesses to personal history, their textures and wear reflecting the marks of use, care, and change. Through these still lifes, I examine the relationship between memory, identity, and ageing, considering how the things we collect evolve alongside us. Ageing is woven into these compositions not just through subject matter, but through materiality and process. The soft fraying of fabric, the slow wilting of flowers, the patina of objects handled over time—all speak to the beauty and vulnerability of life in flux. The presence of mirrors further reinforces this dialogue, reflecting faces that shift and transform, challenging the viewer to consider their own changing self-perception. By capturing these moments, I aim to honor the beauty in impermanence—the way objects and bodies alike bear the evidence of experience. This work is a meditation on the physical and emotional traces left by time, a reminder that to age is to carry the weight of memory, to be shaped by what we hold close, and to leave behind artifacts of our own.

Mum’s House” is a deeply personal exploration of memory, belonging, and the quiet poetry of everyday life. Each painting in this series captures a fragment of a home—a place not just of residence, but of history, emotion, and intimate connection. Through these works, I sought to document the objects, spaces, and moments that shape the atmosphere of my mother’s house, infusing them with a sense of nostalgia and reverence. The paintings are composed with a careful balance of light and shadow, reflecting the way time moves through a space. Simple yet profound elements—an aloe vera plant on a windowsill, a well-worn leather jacket, a breakfast table waiting for the day to begin—become symbols of presence and absence, permanence and change. I am drawn to the details that often go unnoticed: the way a chair sits in the morning light, the way a book is left on a shelf, or the way a staircase is framed by greenery. These seemingly mundane moments are what give a home its soul. Rendered in a muted, warm palette, the works invite viewers to pause and reflect on their own spaces and relationships. By painting these intimate corners of my mother’s house, I am preserving a feeling—one that is at once deeply personal and universally familiar. Ultimately, Mum’s House is an invitation to slow down, to see the beauty in the ordinary, and to recognize the profound connection between home and memory.

Home is not just a place—it is a feeling, a memory, and a shifting landscape of belonging. In my series Almost Home, I explore the fluidity of identity and the evolving concept of home through the language of landscape painting. These works blend direct documentation of real places with the ephemeral nature of recollection, incorporating fragments of fading memories, sensory impressions, and imaginative reinterpretations. In an increasingly mobile and interconnected world, the notion of home is more transient than ever. The landscapes in Almost Home reflect this duality—both familiar and ambiguous, tangible yet dreamlike. By layering textures, colors, and expressive brushwork, I seek to capture the essence of a place that is both deeply personal and universally resonant. These paintings invite viewers to reflect on their own experiences of belonging, displacement, and nostalgia. Through this series, I aim to create visual spaces that exist between reality and memory—landscapes that feel lived in but remain elusive, reminding us that home is not always a fixed point on a map, but rather a state of being shaped by time, experience, and emotion.

Nature’s cycles of decay and renewal have long fascinated me, and in this series, I explore the transient beauty of a single Paphiopedilum orchid as it moves through the final stages of its bloom. Each piece captures a moment of transformation—whether through direct botanical prints, drawings, or paintings—offering a meditation on impermanence, resilience, and the quiet persistence of life. Using a direct printing technique, I preserve the intricate details of each petal and stem at the very end of their life, giving these delicate forms a presence beyond their natural span. The plant itself, however, continues to thrive, reinforcing the theme of renewal. Alongside these prints, my sketches and paintings further interpret the orchid’s essence, layering observation with personal expression. This series is a slow, contemplative process, yielding no more than two unique prints per year. Through this intimate engagement with a single plant, I invite the viewer to reflect on the cycles that shape both nature and our own lives—the fleeting, the enduring, and the beauty in both.

This series of paintings explores the intimate relationship between people and the objects they carry. Bags—whether backpacks, totes, purses, or suitcases—are more than functional accessories; they serve as extensions of the self, vessels of identity, memory, and purpose. Each depicted bag holds an untold story, reflecting its owner’s journey, values, and personal history. By isolating these everyday objects against muted backgrounds, I invite the viewer to consider the unseen weight each one holds—both physically and metaphorically. A weathered backpack might recall years of endurance and exploration, while a neatly folded tote suggests a life of routine and practicality. The wear, color, and design of each piece hint at the unseen individuals who carry them, turning these inanimate objects into deeply personal narratives. At the heart of this series is an exploration of independence, particularly in relation to women’s lives. A bag is often a deeply personal object—one that carries not only essentials but also a sense of autonomy. It moves with its owner through spaces both public and private, a companion in daily life and personal ambition. The diversity of these bags speaks to the many roles women navigate: the traveler, the professional, the artist, the caregiver, the dreamer. Each bag tells a story of self-sufficiency, choice, and movement. The use of oil painting reinforces this perspective, transforming these objects from the everyday into symbols of endurance and agency. The textures, colors, and details capture the individuality of each bag, just as personal experience shapes the independence of its owner. This collection invites reflection on what we carry—not just in our hands, but in our lives. It is a tribute to movement, self-reliance, and the personal journeys that define us.

My Portugal Series is an exploration of place, memory, and connection through the act of painting en plein air. As an artist, I am drawn to the interplay between landscape and personal experience—how the natural world shapes our understanding of home and belonging. These works emerge from my ongoing journey of discovering Portugal, my current home, and deepening my relationship with its land, light, and cultural essence. By painting outdoors, I engage in a direct and immersive dialogue with my surroundings. The ocean, rivers, cliffs, and urban spaces of Portugal offer a constantly shifting palette of colors, textures, and atmospheres. Some pieces in this series reflect a representational approach, capturing the rugged coastlines and vibrant flora, while others lean toward abstraction, distilling the landscape into its most essential forms and rhythms. The O Tejo paintings, for instance, interpret the Tagus River through geometric compositions, reflecting the ways water, movement, and architecture intersect in Lisbon’s identity. At its core, this series is about pausing to observe—how light changes throughout the day, how nature and architecture coexist, and how history is embedded in the land. Each painting serves as both a record of a specific moment and a meditation on place, creating space for contemplation and a deeper appreciation of the environment. As an ongoing project, these works will continue to evolve as I explore new locations and perspectives, embracing the ever-changing dialogue between artist and landscape.

The Abstract Fantasy Landscape series explores the intersection between natural landscapes and abstraction, where memory, perception, and imagination converge. Through bold colors, layered textures, and geometric interventions, I aim to reconstruct familiar terrains into dynamic and expressive compositions. Inspired by the organic formations of mountains, rivers, and vegetation, my paintings break away from strict representation. Instead, I fragment and reassemble landscapes, using contrasting hues, sharp delineations, and rhythmic patterns to emphasize the shifting, fluid nature of our environments. By blending abstraction with recognizable topographical features, I invite the viewer to experience landscapes in a way that is both deeply personal and universal. Color plays a crucial role in my work, often diverging from traditional natural palettes to evoke emotional resonance rather than literal depiction. The juxtaposition of warm and cool tones, earthy textures, and defined contours suggests both the harmony and tension found in nature. This interplay mirrors the delicate balance between human intervention and the organic world, highlighting the ways we shape, alter, and experience our surroundings. Ultimately, these paintings serve as meditations on place—both real and imagined. They are a reflection of my fascination with landscapes as living, evolving entities, where the boundaries between memory and reality dissolve, allowing for new interpretations and narratives to emerge.

Painting from observation is where my artistic process begins—a way of researching, studying, and truly understanding my subjects. Whether capturing the subtleties of a portrait, the quiet poetry of a still life, or the shifting moods of a landscape en plein air, observing what is directly in front of me is the foundation of my practice. It is through this close attention to detail that I connect with the world around me, translating fleeting moments into something lasting. Observation becomes more than a technique; it is an act of presence, curiosity, and engagement that shapes every aspect of my work.

From Nothing emerged during a time of global and personal confinement, conceived amid the January 2021 lockdown in Portugal. With limited access to the external world, I turned inward, using a constrained format—100 A4 paintings on paper—as both a challenge and a necessity. This body of work became a meditation on isolation, memory, and perception, documenting an internal landscape shaped by altered routines and the unknown. In this series, I moved beyond previously explored ideas, embracing ambiguity, duality, and shifts in perspective. Each painting stands as an independent moment of reflection, yet collectively, they form a visual and psychological journey. Some transitions are seamless, while others disrupt expectations—echoing the mind’s unpredictable movement between logic and intuition, structure and chaos. The repetition of certain visual motifs suggests continuity, while the juxtaposition of dissonant styles reflects the non-linear nature of thought. Though the works are presented chronologically, their interpretation remains fluid. Reordering the sequence alters the narrative, revealing new connections and meanings. This allows the viewer to engage in an active dialogue with the series, shaping their own experience through the way they perceive, arrange, and internalize the images. Ultimately, From Nothing is both a documentation of an internal state and an invitation to the viewer to construct their own interpretation. It is a record of adaptation, transformation, and the creative potential that arises from constraint. In its essence, the series reflects how meaning is not fixed but continually redefined through the act of looking.

The Neighbours series is a visual reflection on the bonds we form within our communities—especially in times of uncertainty. Inspired by my move to Lisbon during the pandemic, these paintings capture the quiet yet profound connections I’ve built with my neighbours. Through intimate depictions of objects and scenes that evoke their presence, I explore themes of companionship, resilience, and belonging. Each work is a tribute to the individuals who welcomed me into this new environment, highlighting the warmth of shared moments and the small but meaningful gestures that define our everyday interactions. In these paintings, I seek to preserve not just their stories but the emotions and sense of home they have offered me.

Communication is a fundamental part of human experience, yet it is often fragmented, ambiguous, and shaped by the limitations of language. The Conversation Series explores the space between minds—the moments where meaning is formed, lost, or altered in translation. Through abstraction, I investigate the boundaries of verbal and nonverbal expression, reflecting on the ways we connect and the silences that shape our understanding. In this series, I use negative space to represent the unspoken, the gaps in comprehension, and the tensions that arise in dialogue. Layers of depth, flat graphics, and fluid forms convey the complexities of communication—where clarity meets uncertainty, and where personal perception influences interpretation. Each piece serves as an invitation to reflect on how we share thoughts, emotions, and ideas, as well as the inevitable spaces that exist between them. By placing these themes in a broader, universally relatable context, my work encourages viewers to consider their own experiences with conversation: How do we navigate the boundaries of understanding? What is left unsaid? And in those silences, what meaning emerges?

The Time Series emerged from the sense of dislocation and fragmentation I experienced during the early days of the Covid-19 lockdown. Separated from my paintings and usual workspace, I adapted by turning my home into a makeshift studio. This abrupt shift in routine led me to reflect on themes of time, memory, and spatial disconnection. During this period, I was reading about different perspectives on time, including Carlo Rovelli’s reflections on why we remember the past and not the future. His ideas resonated with me, prompting a deeper exploration of how our perception of space and isolation shapes our understanding of the present moment. Each piece in the Time Series examines a different aspect of this inquiry. Private Spaces reflects the intimacy of solitude, while Less Real From Inside captures the distortion of memory and interiority. The Order of Space and Calçadinha do Tijolo II consider architectural structures as both physical and psychological spaces, revealing the tension between absence and presence. Wood on Wood plays with materiality, suggesting the layering of time within objects themselves. Through this series, I aim to visualize the intangible—how time folds upon itself, how space holds memory, and how isolation alters perception. What began as a response to an unprecedented moment has since evolved into an ongoing exploration of our place within time’s fluid structure.

Artist Statement: The Black Square Series Art is both a site of resistance and a medium of reclamation. The Black Square Series explores the intersections of history, protest, and artistic defiance, drawing inspiration from Kazimir Malevich’s Black Square. Originally conceived as a radical rejection of artistic norms and a symbol of rebellion against ideological constraints, Black Square has since taken on new meanings in different contexts. In my work, it becomes a vehicle for examining contemporary struggles—both personal and political—while engaging with questions of artistic ownership and accessibility. A century after Malevich’s work first defied convention, I found echoes of its defiance in the 2019–2020 Hong Kong pro-democracy protests. Protesters, clad in black, used the color as a symbol of unity, anonymity, and resistance against increasing authoritarian control. The black void—both an absence and a presence—became a powerful metaphor for the struggle between erasure and autonomy. In my paintings, the black square is not just a reference to Malevich but a disruption, a statement of defiance placed within landscapes tied to Hong Kong and broader cultural narratives. This theme of reclamation extends beyond political symbolism to the materials themselves. My use of Stuart Semple’s Black 2.0 engages with another form of artistic resistance: the fight against monopolization in creative expression. When Anish Kapoor obtained exclusive rights to Vantablack, a pigment engineered to absorb nearly all light, he claimed sole ownership over the world’s blackest black. Semple’s Black 2.0 was created in response—a pigment that is open and accessible to all artists except Kapoor. By choosing this medium, my work aligns itself with acts of defiance against both political suppression and artistic gatekeeping. Each piece in this series interrogates the tension between control and disruption. An Imposition on Order and Chaos contrasts rigid geometry with expressive turbulence, questioning the relationship between structure and rebellion. The Black Square: Add 30 Miles to an Anonymous Mountain places the void within an isolated landscape, raising questions about presence, absence, and imposed narratives. Victoria Harbour Study and Black Square Over Victoria Harbour embed the square within Hong Kong’s contested urban space, making the void itself a site of resistance. An Imposition on Nature extends this interrogation to the natural world, where human intervention reshapes landscapes as much as political forces shape societies. Through this series, I explore how black—whether as a color, a symbol, or a void—holds the weight of history, protest, and erasure. The Black Square is no longer just a form; it is a statement, an act of defiance, and an invitation to reconsider what it means to resist.

Artist Statement California Burning Series The California Burning Series is a reflection on memory, destruction, and renewal. In 2018, I embarked on a three-week solo journey through California, revisiting landscapes that had once felt like home. This journey was not born of nostalgia, but of a rekindled connection—one sparked by the devastation of the 2017 wildfires. The Thomas Fire, in particular, brought back vivid memories of Santa Barbara and Los Angeles, places that had shaped my identity for over a decade. Through these paintings, I explore the duality of destruction and transformation. The fires, though catastrophic, became a catalyst for reconnection—not only to the physical landscape but also to my artistic self, an identity I had set aside for years. The charred remains of the land served as both a metaphor and a mirror, reflecting themes of loss, resilience, and the cyclical nature of destruction and renewal. This series marks the beginning of a renewed artistic practice—one where destruction is not just an end, but an opening for rebirth. Through these works, I seek to honor both the scars and the strength of the landscape, capturing the emotional weight of a place forever altered.

Art, for me, is a journey into the depths of the subconscious—an exploration of the unseen, the intuitive, and the ephemeral. The Unknown Series emerged from a period of deep introspection, guided by my studies in Jungian Art Psychotherapy and a commitment to creative processes that prioritize discovery over control. These works are invitations to step into the liminal space between perception and imagination, where ambiguity fuels curiosity and the absence of defined forms encourages personal interpretation. By allowing the medium to guide the outcome rather than imposing rigid intent, I embrace the unknown as both a method and a subject, revealing layers of emotion, memory, and psychological landscapes. The organic interplay of colors, textures, and fluid compositions mirrors the unconscious mind—constantly shifting, fragmented, yet deeply interconnected. The use of photography as the final medium plays a crucial role in this process, capturing the fleeting, transformative states of wet materials before they settle into permanence. This act of preservation freezes a moment in time, emphasizing the transient nature of both the creative act and the emotions embedded within it. Each piece serves as a visual artifact of transformation, a snapshot of an inner world in flux. As viewers engage with these works, they are encouraged to find their own meanings, to witness their own projections, and to participate in a dialogue between self and mystery.