My practice spans painting, film, photography, and collage, though it is fundamentally grounded in painting. It has been shaped by a sustained love of colour and abstraction, and by an interest in how material, surface, and form can hold emotional and political meaning. Alongside painting, I maintain an ongoing series of cut-and-paste collage and text works that explore imagery of protest, often juxtaposed with gold paint to create a tension between beauty and defiance, hope and urgency. Through this, I seek to transform protest imagery into something collective and almost sacred, honouring the power of shared action.
My process often begins with drawing from observation, developing ideas through memory and imagination before introducing colour through studies on paper. I work intuitively, allowing line, shape, and colour to enter into conversation through testing and revision. I use utilitarian materials such as newsprint, paper, hardboard, and cotton duck. These materials carry a sense of précarité: as newsprint dries, it stiffens and crisps, welcoming tears, folds, and surface imperfections. Their vulnerability mirrors both the instability of the present moment and the cyclical nature of life.
Currently, I am developing a new series of paintings on newsprint and cotton duck canvas, emerging from plant studies made in the sun-washed stillness of a friend’s garden in Crete. Drawing on the morphology of flowers—petal-like forms, stems, and organic curves—the works approach the flower as a metaphor for persistence, renewal, and fragility. Beauty is understood not as decoration, but as an act of endurance, which is shaped by a cultural landscape that often dismisses beauty as apolitical or feminised excess, my work insists on its critical force. Softness, colour, care, and joy are mobilised as forms of resistance