Exploring cultural boundaries, design and mark making.

I find myself continually drawn toward the abstract — toward the interpretation of a view rather than its faithful description. It is a pull I no longer resist.

There is a wild freedom in mark-making: brush, ink, and charcoal allowed to move instinctively, without the constraints of realism. In these moments, the work becomes an act of translation rather than representation — my thoughts, memories, and emotional responses taking form as an image that has never existed before.

I have long loved painting realistic stories of our Lakeland landscapes. That connection to place remains important to me. Yet alongside this, abstract visions have begun to take precedence — works that move beyond what is seen and into what is felt. These pieces allow space for the surreal, the imagined, and the intuitive, where meaning is suggested rather than fixed.

This direction grows naturally from my earlier Kintsugi inspired exploration, inspired by Japanese culture and philosophy, and merged with Western graffiti and expressive mark-making. Kintsugi’s reverence for repair, fracture, and imperfection continues to inform my approach, but now the language has become looser, more experimental, and more internal.

These new drawings and paintings sit between landscape and abstraction. They are not concerned with recreating a place as it appears, but with exploring how a place lingers — fragmented, repaired, and reimagined — within the mind.

This work feels like a continuation rather than a departure: an expansion of my visual language, and a deeper trust in intuition. Increasingly, I am allowing the work to follow where it wants to go.