Looking Through Painting

My practice is rooted in a deep reverence for the natural world — a place of intricate beauty, complexity, and constant inspiration. Immersed in environments rich with colour, pattern, texture, and exquisite linear detail, I explore the intersection between observation and interpretation. Found materials from the forest — fragments of the landscape itself — often become part of my process. I work on unconventional surfaces such as dried tea bags, which absorb pigment in unpredictable ways, creating organic variations in tone and texture that echo the irregularities of nature. These materials not only carry a physical trace of the natural world but also a quiet history of time and transformation. Enlarged studies of natural forms invite the viewer to see familiar elements anew — sometimes evoking delight, other times a subtle discomfort, especially when colour is exaggerated or unexpectedly manipulated. This tension between beauty and unease is something I intentionally explore. At its core, my work is a celebration of line, tone, texture, and colour — but also a meditation on our emotional and sensory connection to the environment. Through close observation and experimental techniques, I aim to honour the details that often go unnoticed.