My visual art practice is guided by intuition, shaped as much by lived experience as by the act of painting itself. In many ways, it is the work that charts the path forward - each painting a way of seeing, a way of being in relation to the world.
Primarily a painter and drawer, I am drawn to questions of perception, presence, and our place within the vastness of the natural world. My current work returns to the mountain landscape, where direct observation and immersion become essential. Working on location, in the studio and from memory, I respond to shifting light, atmosphere, and the physical presence of the land—seeking not only to depict what is seen, but to evoke what is felt.
At the heart of my practice is the echo between landscape and inscape, the outer world and the inner terrain that mirror and entwine. Surface appearances are never fixed; they are thresholds. I am drawn to the space where the visible and invisible meet, where the material world opens into something more elusive, more expansive.
This way of seeing first emerged in Leah’s Gift (1995), a pivotal body of work that continues to resonate through my practice. Since then, my painting has moved through both representational and investigative approaches, always circling back to the same essential inquiry: the nature of existence and how experience is held, transformed, and made visible.
I perceive the world through a shifting lens - between clarity and ambiguity, stillness and movement, the observed and the imagined. My process is not about thinking about painting, but thinking through paint - feeling in colour, gesture, and form.
Painting, for me, is an act of presence. It asks for attention, for patience, for a willingness to remain in the unknown. It is a practice of returning, again and again, to the elements, the land, to perception, to something quietly enduring.
This is why I paint.
