"In Transit" Painting

For most of my life, I approached pursuits as challenges—ways to measure performance,
endurance, and worth. Only recently have I begun to question whether what I once called passion
was shaped more by proving myself than by understanding myself.
I began painting a month ago, though I would not have called it painting then. I have no formal,
semi-formal, or informal training. Words and stories were always where I believed my expression
belonged. But I came to realise that some emotions and perceptions resist language. They do not
want structure. They spill. And so I turned to colour.
I work intuitively, attentive to texture, movement, and repetition. I think about how acrylic feels
against the canvas; I carry that sensation into sleep, knowing I will return to it when I wake up.
What began as exploration has become a form of devotion—not a hobby, but a way of staying
close to myself.
I have spent three decades moving through spaces where I might have found who I was. Sometimes, I wanted to. Yet the moment I feel most
aligned is when I hold a brush in my hand. There is a calm there—a sense of familiarity, of return.
By profession, I am a social worker. By nature, I remain in the process of understanding myself. My practice is part of an ongoing inquiry into
purpose, existence, and the larger patterns that shape us. Spirituality runs quietly through this work—not as belief, but as attention.
My current acrylic series, "The Divine Feminine – Towards You", explores presence, absence, and recognition. It also forms part of a larger research
inquiry titled The Scientific Evidence on Love, which examines recurring narratives, shared symbols, and archetypal figures as they appear across
histories, cultures, and human experience.