During my placement year working as a self-employed artist, I immersed myself in my practice without the structure or influence of academia. This period of independence became pivotal in shaping my artistic voice. Free from external pressures, I learned to trust my impulses and rhythms, allowing the work to unfold naturally. It was a time of deep introspection and experimentation, refining my understanding of abstraction as something born from within rather than constructed.

My influences are drawn from artists who engage deeply with the emotional and psychological potential of abstraction. Lilian Tomasko’s rich, gestural compositions and her sensitivity to layering and colour have inspired my approach to creating depth and atmosphere. Similarly, Nathaniel Mary Quinn’s fragmented yet deeply human works resonate with my interest in the complexity of inner experience and the reconstruction of memory and self. Their practices remind me that abstraction can be both vulnerable and powerful—simultaneously revealing and concealing.

At its core, my work seeks to capture the invisible: emotion, intuition, and the rhythm of thought. Through paint, I aim to communicate what language cannot—the immediacy of feeling and the rawness of being. As I continue to evolve, I am driven by a constant desire to push abstraction further, to listen more closely to the subconscious, and to let the act of making remain my most honest form of expression.