A collection of works exploring the landscape as both a physical place and an emotional state. Utilising painting to navigate the terrain of memory, these pieces—executed on canvas, board, and paper—serve as immersive inner worlds. They seek to bridge the boundary between the tangible environment and the subjective experience of being within it.

The Repeating Patterns series explores the universal geometry found at the intersection of the natural and built environments. This collection bridges the gap between the organic fractals of a Fern and the Sullington Warren Tree with the intentional tessellations of man-made structures. Whether examining the fleeting symmetry of Ice Crystals or the enduring stone craftsmanship of the Palazzo Ducale and Ca' d'Oro pavements in Venice, these works highlight a singular truth: that the same rhythmic pulses of repetition define both the wild world and our most iconic architectural achievements.

This collection, The Printed Mark, represents an active investment in the tactile art of printmaking, rooted in foundational studies with Sally Hirst. These works serve as a site for continuous, playful studio experimentation, where I explore the unique dialogue between ink, pressure, and surface. Moving beyond traditional boundaries, I use print to ‘play’ with the landscape—from the rhythmic carving of Lino to the raw textures of block printing. A core element of this practice involves circular reuse; I frequently incorporate recycled materials sourced from The Scrap Space, a local community resource for rescued materials. By repurposing these finds into printing matrices, I embrace the unpredictable nature of the 'rescued' texture. Each piece is an original impression, reflecting my commitment to discovering new visual languages through a process-led, eco-conscious approach.

Within this specific series of The Printed Mark, I focus on the graphic silhouette and atmospheric presence of the crows seen at West Beach. These works represent an active investment in the tactile art of printmaking, rooted in foundational studies with Sally Hirst, where the bird becomes a vessel for continuous, playful studio experimentation.

Within this specific series of The Printed Mark, I focus on the rhythmic movement and fleeting presence of the rabbits at West Beach. These works represent an active investment in the tactile art of printmaking, rooted in foundational studies with Sally Hirst, where the animal form becomes a vessel for continuous, playful studio experimentation.