I’m an artist working primarily with acrylic and mixed media on canvas, board and paper, with moving image increasingly becoming part of my practice. For as long as I can remember, I have enjoyed telling stories, through theatre, filmmaking, conversations with friends and now painting. I am less interested in stories with clear beginnings and endings than in those that leave behind a feeling, a memory or a question.

​

I think I became an artist because I am curious about people. I keep returning to places, people, conversations and moments that stay with me long after they have passed. I am interested in why certain experiences remain with us, how they shape the way we see the world, and what makes us feel connected, present and alive.

​

Landscape has become a way for me to explore these questions. The landscapes in my work are not attempts to recreate specific places, but emotional landscapes shaped by observation, memory and internal states.

​

Landscapes, like human emotions, never settle. They constantly shift. From sunrise to sunset, clear skies to rainy days, they exist in constant flux. Settling only momentarily, if you allow them to.

​

I have become particularly interested in memory and the way it changes each time we return to it. Memories are not fixed records of what happened; they gather, overlap, fade and resurface, shaped by everything we experience afterwards. My paintings try to grasp something of this process the feeling of a place or moment as it exists within us rather than as it once appeared.

 

This interest is connected to my experience of growing up in an environment that often felt chaotic. I became sensitive to moments of calm within that chaos, and to the fleeting experiences that make us feel grounded. The idea of finding moments of relief within interruption continues to sit beneath much of my work.

 

My path to becoming an artist has not been conventional. I studied law and worked in advertising after graduating, but I continued to return to storytelling and creative practice. A year spent assisting Muzaffar Ali became an important turning point, encouraging me to approach art through curiosity, freedom and experimentation. My subsequent travels through the Himalayas further shaped this way of working, teaching me to observe before trying to recreate.

​

My process remains intuitive and process-led. I build, dilute, layer, erase and respond to what is happening on the surface, allowing the work to guide me rather than completely directing it myself. I am now extending these questions beyond painting through moving image and interactive installation, exploring how memory, thought and perception might be experienced collectively.

 

Across these different forms, I continue to follow the same impulse, to understand why certain experiences stay with us, and how they shape the way we experience the world.