My practice centres on the human body. How it holds memory, instinct and emotional inheritance. For many years, I worked through tightly rendered realism, constructing images from staged photographs and focusing on figures in states of suspension: falling, rising, drifting in water or hovering between one moment and the next. These works explored movement as an emotional metaphor and reflected my own experiences of flux while living across different cities and countries.

Over time, the process that once felt exciting became a form of constraint. The images functioned well in the world, but felt increasingly distant from my inner life. Precision eclipsed presence, and I realised something essential had slipped out of the work.

A major shift followed. Stepping away from commercial demands over the last 18 months has allowed me to dismantle long-held habits and return to a more instinctive, physical way of making. I no longer work from photographic reference. Work begins in the body itself. Drawing, mark-making and mixed media have become immediate extensions of sensation. The line, once controlled, is now urgent, intuitive and emotionally led.

This transformation is shaped by lived experience: a childhood defined by control, a youth marked by chaos, and the slow loss of my mother through dementia. These forces have brought memory, identity and emotional inheritance to the centre of my practice.

Today, the work occupies the space between vulnerability and defiance. It embodies rupture, resilience and the internal movements that shape who we are.