Studio
I’m a self taught painter who’s been creating since childhood, drawn to abstraction for the freedom it gives. My work is shaped by the natural world, the pull of ocean swell, the drama of weather, the rhythm of mountain lines, and I aim to turn that movement into colour, pattern, and depth that feels alive.
I’m a self taught painter who’s been creating since childhood, drawn to abstraction for the freedom it gives. My work is shaped by the natural world, the pull of ocean swell, the drama of weather, the rhythm of mountain lines, and I aim to turn that movement into colour, pattern, and depth that feels alive.
The beginning is always the hardest part. It’s where the doubt lives, where I’m not sure if it’s working, and everything feels unfinished. I might start from a moment in the ocean or the mountains, a photo in a magazine, a clip I’ve seen online, or sometimes nothing at all except a blank canvas and music, just letting the first marks happen. That early stage is about laying foundations before the image shows itself, and once I push past the halfway point the painting starts to reveal what it wants to become, which is when the real momentum kicks in.
The beginning is always the hardest part. It’s where the doubt lives, where I’m not sure if it’s working, and everything feels unfinished. I might start from a moment in the ocean or the mountains, a photo in a magazine, a clip I’ve seen online, or sometimes nothing at all except a blank canvas and music, just letting the first marks happen. That early stage is about laying foundations before the image shows itself, and once I push past the halfway point the painting starts to reveal what it wants to become, which is when the real momentum kicks in.
The final stretch is my favourite. Once the piece is almost there, everything becomes about sensitivity and control, subtle shifts, small brush strokes, and tiny adjustments that can completely change the overall feeling. That’s when I can really focus on creating depth and movement, capturing energy, and drawing the viewer in so they look deeper and see something different each time. I never rush a painting or set a strict time scale, because I’ve come to trust the process and enjoy it. The best work happens when I stay relaxed and let it flow, like the ocean, be water my friend.
The final stretch is my favourite. Once the piece is almost there, everything becomes about sensitivity and control, subtle shifts, small brush strokes, and tiny adjustments that can completely change the overall feeling. That’s when I can really focus on creating depth and movement, capturing energy, and drawing the viewer in so they look deeper and see something different each time. I never rush a painting or set a strict time scale, because I’ve come to trust the process and enjoy it. The best work happens when I stay relaxed and let it flow, like the ocean, be water my friend.
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"Empty your mind. Be formless, shapeless—like water. Now, you put water into a cup, it becomes the cup. You put water into a bottle, it becomes the bottle. You put it into a teapot, it becomes the teapot. Now water can flow or it can crash. Be water, my friend." - Bruce Lee
STUDIO
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Studio
I’m a self taught painter who’s been creating since childhood, drawn to abstraction for the freedom it gives. My work is shaped by the natural world, the pull of ocean swell, the drama of weather, the rhythm of mountain lines, and I aim to turn that movement into colour, pattern, and depth that feels alive.
The beginning is always the hardest part. It’s where the doubt lives, where I’m not sure if it’s working, and everything feels unfinished. I might start from a moment in the ocean or the mountains, a photo in a magazine, a clip I’ve seen online, or sometimes nothing at all except a blank canvas and music, just letting the first marks happen. That early stage is about laying foundations before the image shows itself, and once I push past the halfway point the painting starts to reveal what it wants to become, which is when the real momentum kicks in.
The final stretch is my favourite. Once the piece is almost there, everything becomes about sensitivity and control, subtle shifts, small brush strokes, and tiny adjustments that can completely change the overall feeling. That’s when I can really focus on creating depth and movement, capturing energy, and drawing the viewer in so they look deeper and see something different each time. I never rush a painting or set a strict time scale, because I’ve come to trust the process and enjoy it. The best work happens when I stay relaxed and let it flow, like the ocean, be water my friend.
BACK TO TOP
"Empty your mind. Be formless, shapeless—like water. Now, you put water into a cup, it becomes the cup. You put water into a bottle, it becomes the bottle. You put it into a teapot, it becomes the teapot. Now water can flow or it can crash. Be water, my friend." - Bruce Lee