recent paintings
More Fragile Than We Thought (2025-2026)
Oil and acrylic on linen
100 × 100 × 4.5 cm
Running parallel to the highly saturated consumer aesthetics of the YOLKO series, this body of work shifts the focus toward material intervention and physical process. While maintaining the use of open-ended emblems, such as the egg and the circle, these paintings strip away the glossy veneer of commercial branding to engage with systemic fragility in a much more visceral way.
By relying on dense textures, repetitive manual gestures, and charged atmospheric spaces, the work physicalises the tension between organic life and manufactured confinement. Shifting away from didactic symbolism, the surface acts as a raw, physical inquiry, holding space for reflection rather than offering a fixed narrative.
the stamped canvas
Works such as Without a Second Thought (2025–2026) and Counterbalance (2026) represent a shift from appropriating commercial aesthetics to physically enacting industrial logic. In these paintings, a found plastic egg carton replaces the brush as the primary tool. I dip the base of the carton into pigment and rhythmically stamp the surface, leaving behind repeating circular marks.
This arduous, repetitive process mimics a mechanical conveyor belt, turning the studio into a site of banal reproduction. Drawing on Hannah Arendt’s concept of the 'banality of evil', the work explores how sinister mechanisms of control are hidden within ordinary domestic objects. On the raw wood panel of Counterbalance, the neutral, glazed tones create a quiet space focused on two central, leaning egg forms, offering a potential emblem of radical hope and unity. In contrast, scaling the process up to a large canvas in Without a Second Thought shifts the register entirely. The stamped red circles multiply to form a dense visual noise, exposing the visceral tension between the fragility of life and the relentless pace of mass consumption.
Without a Second Thought (2025-2026)
Oil and acrylic on canvas
140 × 168 × 2cm
Counterbalance (2026)
Oil and acrylic on wood panel
24 × 30 × 0.5 cm
emblematic abstractions
In concurrent studio works, the focus shifts to the associative power of colour, texture and atmospheric space. Moving across both canvas and linen, these paintings build up dense, heavily worked backgrounds that range from visceral, vibrant reds to brooding, dark expanses.
Against these charged surfaces, the central motifs operate in a state of deliberate ambiguity. In paintings such as Pushing Back (2024-2026) and More Fragile Than We Thought (2025–2026), ambiguous, organic shapes are pitted against rigid structures, such as the diagonal cut of a straw, harsh zigzags, or tight, nested borders. The 2025 triptych, The Odds Are There to Beat, fragments these central motifs across multiple panels. Set against visceral red surfaces, this shifting of scale and focus positions the fluid emblems to frame love and connection not as sentimentality, but as a radical act of resistance.
By keeping the visual language flat and resisting traditional perspective, these paintings heighten the friction between harsh linear boundaries and softer, uninhibited marks. This approach actively questions the division between organic life and manufactured environments, allowing the work to oscillate powerfully between systemic critique and radical hope.
Pushing Back (2024-2026)
Oil and acrylic on canvas
20 × 20 × 1 cm
More Fragile Than We Thought (2025-2026)
Oil and acrylic on linen
100 × 100 × 4.5 cm
The Odds Are There to Beat (2025)
Oil on linen
Triptych: 50 × 15 × 4 cm
(3 panels, each 15 × 15 × 4 cm)
transitional work
The first day marks a pivotal conceptual and material turning point in my practice. Initially inspired by the visual distortions of a migraine aura, the painting was heavily informed by encountering the Migraine Art Competition Collection at the Wellcome Collection, alongside the fluid, expressive mark-making of Joan Mitchell.
Recognising that my previous symbolic language had become too rigid and controlled, this work actively dismantled that approach. By minimising preliminary drawings and embracing a looser, more experimental application of oil on canvas, the painting transitions away from closed, restrictive symbols toward open, universal emblems, such as the motif of fire. This piece functioned as the bridge in my practice, moving away from a highly controlled aesthetic to establish the ambiguous, generative visual vocabulary that defines my current work.
The first day (2024)
Oil on canvas
50 x 40 x 3 cm