My practice explores the relationship between geometric structure and organic complexity, and how movement, energy and intricate detail can exist within seemingly still and contained forms.

I am interested in shifting relationships of containment: how complex and energetic marks can form contained shapes; how groups of shapes can be held within larger organic fields; and how those fields can themselves become contained within a larger structural frame. What functions as a container at one scale can become contained at another, creating tension, rhythm and cohesion within a composition.

I see these relationships in the natural world and in compelling painting. From a distance, forms can appear simple and ordered, while closer observation reveals layers of texture, movement and complexity. I am drawn to this shift in perception — the moment when an apparently simple structure opens into something unexpectedly complex.

My process moves between observing the natural world, drawing, looking at paintings, identifying questions and testing possibilities through materials in the studio. Through drawing, painting and material experimentation, I explore mark-making, layering, texture, density, repetition, scale and the relationship between positive and negative space.

My current investigation focuses on the space between the organic and the geometric, the contained and the expansive, and how complexity and structure can coexist within a single composition.