Creative Vision
My practice moves between painting, ceramics, and heritage surfaces. Across each medium, I return to material as a site of memory — layering, abrading, and reworking until forms feel embedded rather than applied.
I often think of the work as a form of visual archaeology. Images emerge through accumulation and excavation, carrying traces of lived experience, cultural encounter, and the physical act of making. The horse recurs not as illustration, but as an enduring form — a vessel for myth, movement, and continuity.
Surface is central. Pigment is built and worn back. Clay is shaped and pressed. Historic plaster is repaired and reawakened. Through these processes, the work holds both intimacy and collective resonance — narratives that remain open, resisting closure while suggesting endurance.
Working between the UK and France, I move fluidly between studio and architectural space, allowing each practice to inform the other.
My work begins with touch and return. I build surfaces slowly, layer upon layer, then abrade them back until the image feels discovered rather than declared. Across painting, clay, and historic plaster, I am interested in what endures — how form can carry memory without fixing it. The horse appears again and again, not as subject but as presence, a shape that survives transformation.
“A form of visual archaeology… narratives that resist conclusion yet feel timeless.”
— Swanfall Art Exhibition Team, 2025