My work moves between structure and surrender. I first trained as a biologist, where years of drawing under a microscope sharpened my attention to nuance, rhythm, and variation. That discipline remains embedded in my paintings, even as they unfold through large-scale abstraction.

I began my career as a portrait painter in London before turning fully to abstraction after studying at The Art Students’ League in New York, where I worked with Larry Poons. Abstraction offered a different kind of truth — one that could hold tension, ambiguity, and emotional depth without literal narrative.

Working primarily in oil, I paint intuitively and at scale. I often begin with color rather than image, allowing gesture and sensation to lead. The process is physical and immersive. I resist overcorrection, trusting that what emerges carries its own internal logic.

My recent series, Open, Not Broken, explores presence through somatic abstraction — moments of suspension, endurance, and return. These works are not about resolution, but about staying. They hold vulnerability without collapse, and openness without fracture.

Letting go of perfection has become central to both my studio practice and my life. Each painting is an act of attention — a commitment to remain present and responsive to what unfolds.