artist statement

Following a two-decade career in brand marketing, my practice acts as a visual reverse-engineering of corporate persuasion. Referencing Hannah Arendt’s writings on the banality of evil, the work explores the tension between manufactured aesthetics and systemic fragility.

Across my current practice, I appropriate the saturated colours of supermarket packaging to interrogate the mechanisms of industrial confinement. I employ a flattened visual language of circles, egg forms, and linear straw motifs. Rather than prescribing a didactic narrative, these recurring elements operate as an open, emblematic vocabulary.

Working from a studio residency at St Mary's Church, Battersea, my practice shifts between the historic architecture of the main building and the crypt below. The crypt operates as a kindergarten during term time. Working within this space during school holidays places my practice in direct dialogue with the visual environments of childhood. This stark physical contrast between the monumental weight of the church and the bright, primary elements of the kindergarten directly informs my use of highly tactile material processes to disrupt the polished veneers of consumerism. Deeply rooted in painting, the work frequently expands into printmaking, sculpture, and installation. By physically stamping plastic egg cartons into paint to create dense relief patterns, and observing how pigment behaves across different supports, the work moves between intimately scaled rigid panels, large-scale unstretched canvas, and spatial interventions. Through this material inquiry, the practice balances industrial repetition with intuitive gesture, sustaining a deliberate oscillation between systemic critique and radical hope.