I make paintings that start with looking.

Some look at the street - the layered stickers, tags, and worn‑away marks that accumulate on city surfaces. Others look at archives: a digitised engraving from a 19th‑century book, a portrait of an unnamed woman, a gesture pulled from history and reimagined in watercolour, ink, or collage.

My process is slow, observational, and driven by curiosity. I work in series because I believe an image deepens when you return to it - translating it across mediums, stripping it back, letting it become something new.

I don't aim for spectacle. I aim for quiet attention.