artist statement

Following a twenty-year career in global brand direction and 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.

Operating across canvas and linen, my visual language shifts between the saturated, flat aesthetics of commercial packaging and dense, heavily worked surfaces. I employ an open, emblematic vocabulary of circles, egg forms, and linear straw motifs. By placing rigid, manufactured boundaries in direct opposition to fluid marks and heavily textured, bodily tones, the work explores the division between organic life and manufactured environments.

Working from a studio residency at St Mary's Church, Battersea, London, my daily process shifts between the historic architecture of the main building and the crypt below. The crypt operates as a kindergarten during term time. Creating within this space during school holidays places my work in direct dialogue with the visual environments of childhood. This stark physical contrast 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. The physical process often begins on the floor, working directly onto unstretched canvas. By physically stamping plastic egg cartons into paint to enact industrial logic, or building up atmospheric spaces through repetitive manual gestures, the resulting works shift dramatically in scale, ranging from intimately scaled rigid panels to monumental, stretched canvases measuring up to two metres. Through this demanding material inquiry, the practice balances mechanical repetition with intuitive gesture, sustaining a deliberate oscillation between rigorous systemic critique and radical hope.