When Two Paintings Find Each Other
I didn’t plan these works as a diptych.
Guardian of the Land (Pale) and Guardian of the Land (Luminous) were created at different moments, in slightly different emotional registers. One quieter, cooler, reflective. The other warmer, glowing, reassuring.
But when I placed them side by side, something shifted.
How Office Workers Feel About the Art Around Them
Art in offices is often treated as a finishing touch — something chosen late in a project, installed quietly, and rarely discussed again. It’s expected to sit politely in the background, complement the furniture, and cause no disruption.
Yet when you take the time to speak with the people who actually work in these spaces, a very different picture emerges.
Choosing Art for the Bedroom vs the Office: When Home Is a Sanctuary
Choosing art for an office and choosing art for a home may look similar on the surface, but the intention behind each is fundamentally different.
An office is a public-facing space. Even when thoughtfully designed, it asks art to do something — to energise, to structure attention, to convey confidence or creativity. Art in these settings often works best when it has rhythm, clarity, or a sense of momentum. It can be bold, architectural, or quietly assertive. It needs presence.
Home is different.
A home is where the nervous system finally softens.
Why Does Texture Matter More Than Image
View artwork “Anchor” on Saatchi Art
Lately, I’ve noticed that the work people pause on isn’t necessarily the most striking or the most explicit. It’s the work with surface — with layers, texture, and a sense of having been built slowly. Before there’s an image to read, there’s something to feel. For me, texture has begun to matter more than image, because it carries presence long before meaning arrives.
Held Figures
Since writing this, I’ve been struck by how viewers respond to the stillness of these figures — often describing a sense of presence rather than personality. That response has reinforced my interest in figures that are not portraits, but quiet states of being: held, contained, and steady within their surroundings. This ongoing dialogue between the work and its viewers continues to shape how the series evolves.
Held Figures is a series that explores what it means to be contained — emotionally, psychologically, and physically — without being constrained. The figures in these works are simplified, almost archetypal, yet they carry a strong sense of presence. They are not portraits of individuals, but representations of states of being.
Joined Ground
Joined Ground is a new series that explores the space where surfaces meet — where materials press against one another, overlap, and hold.
The works are built from layered blocks, worn textures, and stitched edges that feel both constructed and eroded. Nothing is fully blended; instead, each section retains its own character. The joins are visible. The seams matter. They carry the weight of time, pressure, and decision.
Under Tension
Under Tension is a series that explores the quiet strain that exists where surfaces meet, press, or are forced to hold together. These works are not about rupture or collapse, but about the moment just before—when materials appear stretched, stitched, compressed, or held in an uneasy balance.
Held Figures
Held Figures is a series that explores what it means to be contained — emotionally, psychologically, and physically — without being constrained. The figures in these works are simplified, almost archetypal, yet they carry a strong sense of presence. They are not portraits of individuals, but representations of states of being.
Each figure appears held within a structured, layered ground. The backgrounds are built from repeated fragments, creating a sense of enclosure and support rather than confinement. This layering acts as both a backdrop and a quiet architecture, suggesting stability, memory, or accumulated experience. The figures sit calmly within these structures, neither pushing against them nor dissolving into them.