My practice explores the intersection of memory, psychology, and materiality. Informed by a background in the restoration of historic houses, I treat the canvas as a site of excavation:- building, staining, and scraping back layers of gesso and pigment to reveal 'structural memories.'

While my work spans both abstracted coastal landscapes and figurative series, it is united by a fascination with what remains. My current series, The Flesh That Binds Us, uses this 'archaeological' process to map the unseen histories and complex interdependencies of family structures.

The Flesh That Binds Us No. 2 forms part of an ongoing series examining how early relational experiences shape the architecture of the self. The abstracted figures merge and share limbs, occupying an unstable space between intimacy and autonomy.

 

The surface is built through layers of acrylic and gesso that are repeatedly scraped back. Rather than drawing the figures directly, I uncover them through excavation, allowing forms to emerge from beneath accumulated marks. This process operates as a material parallel to memory — layered, obscured and partially revealed. In this work, a literal lipstick kiss remains embedded within the surface: a visceral imprint suggestive of attachment and the physical traces relationships leave behind.

Acrylic on Canvas

119x139cm

Framing in an open frame