statement
What if the same forces that ripple through the universe also guide the lines I draw? Nature inscribes its order across everything, from the motion of planets to the flow of blood through the heart. As a painter and sculptor, I’m fascinated by how matter, both living and inert, follows underlying logics and geometries that generate patterns and forms, recurring across scales. The body follows these same codes of order. Through my practice, I trace these correspondences, often finding in the behaviours of the world reflections of human systems - social, political, and collective.
My approach to mark-making began decades ago, after my sister’s passing, when intuitive drawing became a means of reflection and questioning. Those early, spontaneous lines remain central to my practice, continually evolving as I reinterpret and expand their possibilities. With pendular, circular movements of my arm, I carve out marks that capture the body’s rhythm - at times fast and energetic, at others slow and deliberate, drawn or incised into the surface.
Working within the curvilinear line as a foundation, I build layers of oil paint to explore light, shadow, and colour. Through the interplay of positive and negative space, biomorphic forms emerge - some voluminous and tangible, others translucent or textured. Certain shapes remain abstract, while others evoke fragments of the feminine body, traces of animals, or elements of the cosmos, light, and sea - a fish, a moon, a wave intersecting one another. A further layer of analysis follows as I connect curves with tangent lines, mapping hidden order within the compositions. From paint to sculpture, my biomorphic forms sometimes evolve into three dimensions where scale and material presence embody the same generative logic, extending the conversation between gesture, order, and form into space.