I am an early career oil painter based in the UK, working across landscape and animal portraiture. My practice is rooted in observation and begins with moments from everyday life that might otherwise go unnoticed.  I am drawn to the way light transforms a location, changing its atmosphere and shaping how we experience it.  Animals are a recurring subject in my work as they naturally capture my attention, bringing movement, character and a sense of presence to the landscape.   

I am interested in paintings which feel resolved from a distance but, as you get closer, begin to somewhat fall apart, revealing their components.  Visible brushstrokes and broken passages of paint allow the surface to remain active, balancing careful observation with suggestion.  Once the essence of a subject has been captured, I prefer to stop rather than overwork the painting, preserving the immediacy of the first response.  Oil paint suits the way I work because of its physical qualities and its ability to suggest texture without relying on excessive detail.  I enjoy details like the softness of fur, the density of feathers and the effect of light on weathered or rain darkened surfaces.  Light plays a central role in my work, shaping both the structure and atmosphere of each painting.  It can soften forms, heighten contrast or completely shift the mood of a scene.  I am often drawn to muted palettes and darker tonal values, although I have recently begun experimenting with brighter backgrounds to explore how they influence the finished image.  

Working outdoors is central to my practice.  I began painting en plein air because of Covid restrictions while studying at university and it has remained the foundation of my approach to painting ever since.  What began as a way of finding focus during a somewhat chaotic time soon became an important tool in understanding a scene’s visual makeup.  Painting directly from observation has taught me to work selectively, responding to changing light and conditions, while focusing on the essential elements of a scene.  Rather than describing everything I see, I look for the shapes, values and relationships that give a painting its structure and atmosphere.  While observation remains at the heart of my practice, I am increasingly interested in combining it with memory and imagination.  This allows me greater freedom to edit, simplify and strengthen a composition while remaining faithful to the feeling of a place.  Through my work, I hope to encourage slower observation and a greater appreciation of the small details, shifting light and fleeting moments that often pass unnoticed.