Latest Series

I am interested in the emotional connections and memories that people attach to objects and places. Through ambiguity as well as combining different types of representation, I aim to create a transitional space where a dialogue is created between the painting and the viewer. My paintings use variations of visual language with reference to photography and digital art, creating a level of ambiguity that questions what is real and what is artificial, relying on the viewers own visual experience of the work. The combination of cliché objects painted in a realistic way alongside the visual indeterminacy of where they are situated, creates a liminal space in which different interpretations of what is being represented can be made.


The Crypt Galley

City and Guilds of London Art School Interim Show

I took part in the interim show that was put on by the first and second year students from City and Guilds of London Art school. The exhibition took place at the Crypt Gallery from the 23rd – 25th June.

Beyond Imitation

I often take photographs and discover objects that are rusted, weathered, dead or dried which I then take back to the studio. I found that representing objects I had collected didn’t hold as much interest as the original thing or landscape they came from. My research has involved looking at the history of the sublime in art; at different artists’ approaches to that which cannot be represented or replicated. By researching a wide variety of material processes I have been able to produce works that evoke ideas relating to beauty, decay, construction, deconstruction, seduction and repulsion.

1 Rue Sainte-Anne

I have been interested in the emotional connections people have to places. Taking my family’s home in France that is over a century old as a departure point, I made a painting that intended to simultaneously encapsulate the dilapidation of that house as well as the beauty that can be seen in this decay. I experimented with materials, objects, representation and illusion when making this work. I aimed to produce a painting where there was a suggestion of a space but one in which the viewer was immediately made aware of the two dimensionality of the canvas.


A large part of my fascination with landscapes and the objects I find is the atmosphere of those places and my experience visiting them. In my transcription of Titian’s ‘Bacchus and Ariadne’, I chose to reduce the original composition, leaving just the boat and the surrounding environment. I aimed to reflect Ariadne’s emotional turmoil through a stained, gestural and heavily worked surface.