My abstract paintings explore the relationship between sensory experience, memory and the material processes through which a painting comes into being.

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My experiences of living in Egypt and South Africa continue to inform my relationship with the natural world. The vastness and deep time of the desert, the physical presence of history, and the sensory intensity of the land have become part of an internal landscape that informs my work. I am interested in how these experiences persist beyond their original contexts, not as fixed images, but as sensations, rhythms and embodied memories.

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Through layered surfaces, instinctive mark-making, recurring organic forms and unexpected interventions of colour, I explore the tension between accumulation and erasure, stillness and vitality, and what is revealed and what remains concealed. Earlier marks become embedded within the surface, while new gestures disrupt and transform what has come before. The recurring forms in my paintings are not intended to convey fixed meanings. They evolve through the act of painting, establishing rhythms and relationships that remain open to interpretation. Contrasts between subtle, worked surfaces and bold, physical gestures allow the paintings to hold both quietness and intensity.

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For me, abstraction provides a way to engage with the persistence of experience without resorting to literal representation. The painting becomes a material record of successive actions, where sensory memory, instinct and the changing surface converge.