My work is grounded in bodily experience and sensory memory. The self-portraits emerge from an exploration of corporeal fluids and their colours — red, yellow, brown — referencing menstruation, urine, digestion, and bodily pain. These works are deliberately visceral. They deal with what is usually hidden or considered uncomfortable, using colour and distortion to evoke states of vulnerability, intensity, and physical presence. The body appears fragmented, exaggerated, or unstable, reflecting moments when sensation overtakes control.

Alongside these works, my abstract paintings are rooted in place. They respond to my experience of living in Boarhills, on the east coast of Scotland, where seasonal shifts and changing landscapes had a profound visual and emotional impact on me. The movement of colour, dry brushstrokes, and layered textures reflect transitions between seasons, light, and weather, translating landscape into sensation rather than representation.

Across both figurative and abstract works, painting functions as a form of embodied observation. Colour becomes a language for pain, memory, environment, and transformation. Rather than seeking resolution or harmony, these works remain open, attentive to flux, instability, and the ways bodies and places leave lasting marks.