My practice explores memory and emotion, specifically considering the impact in connection to individual, and shared, psychology. Following my parents’ recent deaths, I have been exploring my bereavement and the wider human experience of grief, within the constraints of society and taboo. Defying object, emotions often become difficult to define. Interpreting emotional responses aesthetically, my aim is to connect with my audience and allow a more open conversation around these difficult experiences, as I seek to address the universal from the personal, confronting this seeming binary. I hope to break down this taboo and censorship stigmatised by fear. As performer and writer Lisa Kron observed, “The goal of autobiographical work should not be to tell stories about yourself but, instead, to use the details of your own life to illuminate or explore something more universal."

My concept development is what drives and shapes my materiality, creating a rich and multi-disciplinary practice across painting, text and installation, as well as performance for more overtly vulnerable forms of expression. Influenced by both Conceptual art and Realism, my works use representational ambiguity and aesthetic form, intending for audience insight and autonomy when encountering my work. Order and series to generate and maintain control within emotional trauma have also become a cathartic and critical aspect in my practice output, and vehicle for understanding, to allow for better communication with my viewer. Through my 2023 painting installation, ‘Could We Recognise Our Grief?’ I developed a visual language for grief, questioning societally prescribed psychological labels. I also explore more traditional approaches with oil painting, often through portraiture; however, my portraits are less about the sitter, and more about myself, showing an alternative approach to representation, and an idiosyncratic style I’ve adopted of the sitter's eyes never facing the viewer.