The core of my artistic practice is based on creating my own painterly language that is indicative of abstract landscapes; I do this through combining expressive mark-making with gestural elements, informed by sculpture. The sculptural aspect of my practice is derived from my manipulation of silicone, used in dialogue with an exploration of the materiality of paint. Another key factor is my affinity for vivid colours alongside the playful, expressive nature of my painterly processes. One of these processes - that features heavily throughout my practice, was developed from my investigation into the resistance between plastic tape and water; their incompatibility enables my application of paint to produce a sense of dynamic flow throughout my work.
I aim for the viewer to use their imagination and lived experiences in order to perceive their own unique version of the abstract landscape in my work. Therefore, it is vital to embrace the chaotic nature of abstraction and not force a clear, singular narrative upon the viewer. This leaves the abstract elements of landscape open to interpretation. This concept is embedded in the content of my work and is mirrored in the materiality of my practice.