About

I am currently finishing my final year at University of the Arts London, Camberwell, studying Fine Art Painting. Currently based in Bath, I am continuing my practice. 



                                                                                        Artist Statement

In contrast to art that requires knowledge, context, and theory to understand them, my works are a visual open invitation towards the viewer, welcoming their own unique thoughts and interpretation. The viewers’ participation and engagement are a vital part of my practice. I am deeply fascinated and motivated by things that have not yet been created, and elements that have not yet been put together. The question “What If?” lies at the heart of my practice. Taking inspiration from Albert Oehlen, Mary Weatherford, Gerhard Richter and many more, I learn new ideas with painting, and philosophy.

 

Heavily inspired by personal experiences within nature and everyday life situations, I allow an unseen connection to enter my work. Occasionally prompted by an interest in a certain colour, gesture or movement, the paintings almost always begin with no plan and take on a life of their own during the process. I keep it as vague and open as possible at the start and during the journey, allowing almost any possible outcome.

 

There is a series of processes unique to each painting. Despite each work being different, it can include using varied size brushes, scrapers, buckets, and other unconventional tools. These tools allow a broad range of gestures and physicality to enter the work. The materiality of the paint plays a critical role in the works, varying from conventional applications to unknown substance experiments. Typically, the works endure numerous layers of trial and error before completion, sometimes allowing the viewer to see the process. Having no set plan for the work invites risk, danger, and chance to take play, leading to the process being an entire mystery and investigation. Despite this, progress pictures are taken, edited, and reflected on, allowing time for ideas and potential next moves.

 

What may appear to be messy and gestural marks on a canvas, is in fact a series of both intentional and unintentional marks that result in visual tensions and contrasts. I hope for the works to challenge the viewer and make them question and respond to what exactly they are looking at.