My practice is a rendering of human emotions, exposed layer by layer through colour, texture, and the quiet authority of raw materials. Working with modest, natural substrates—hemp, jute, muslin, cotton—as well as watercolour and ink, I seek to map our profound psychological connections with the least possible interference.

In visually rendering these emotional landscapes, my process is guided by four core principles:

• Interlocking Layers: I build overlapping strata of material and tone to reveal how different emotions coexist across time.

• The Intentional Accident: I welcome and preserve moments of vulnerability and chance within the work—whether through strands left undone or paint allowed to flow without restraint.

• The Freedom from Borders: I reject traditional framing for both tapestries and paintings. Removing the restriction of "the box" allows the artwork to breathe and interact directly with the viewer.

• Repetition of Gesture: My process relies on the rhythmic accumulation of memory and time, expressed through repeated physical acts—whether it is pouring watercolour across the canvas, or layering strands of fibre one on top of another.

I am guided entirely by the material. The finished work retains an absolute authenticity. For me, unprimed, tactile textiles hold an inherent sense of time past, a built-in nostalgia, and an indescribable presence that extends far beyond their physical form.

Parallel to the canvases and textile works, I experiment with the ephemeral nature of memory by capturing photographs of botanical elements suspended in bioplastic solutions, crystallising a delicate state of transition and nostalgia.

Profoundly inspired by the cinematic natural landscapes of Andrei Tarkovsky, my work functions as a visual stillness—a captured moment of transient beauty. Through these textured compositions, I aim to provoke immediate emotional resonance and a sense of deep nostalgia tied to the viewer's own personal memories.