My practice is shaped by landscape, memory, and place. I work mainly with oil painting, cold wax, and encaustic, and I increasingly make and use my own earth pigments sourced from the local environment. Colour develops through time spent with the land itself, using clay, soil, and weathered stone gathered locally and processed using traditional, hands‑on methods.

These handmade pigments are used in finished paintings, giving each work a quiet but direct connection to where it comes from. The work sits between abstraction and landscape and is influenced by weather, erosion, and geological change. I am drawn to surfaces that build slowly and show evidence of making, with an emphasis on touch, subtle shifts of colour, and a sense of restraint.

Alongside this material exploration, I continue to make resolved paintings intended for exhibition and sale. Developing earth pigments is part of how the work grows, supporting the paintings rather than sitting apart from them, and helping to strengthen their relationship to place and craft.

Alongside my studio practice, I work as an art educator within further education. This informs my interest in materials, access, and the sharing of knowledge, while remaining distinct from my independent studio work.

My current focus is on deepening my skills in traditional pigment making as a heritage practice, and bringing this learning into an ongoing, professional studio practice that balances exploration with the production of finished work.