Colour, Sediment, and Suspended Paint
I’m a painter.
To create fluid colour, I set up environments where paint is poured, suspended, and allowed to settle. Fluorescent pigment cascades across surfaces, flooding spaces and leaving sediment behind. What remains is not fixed — it shimmers, shifts, and holds traces of movement.
This is where my paintings and installations begin.
Immersion as a way of working
I work within buildings and rooms, responding to their architecture, edges, and histories. Walls, ceilings, floors — all surfaces are treated as part of the same field. Paint is injected into spaces, allowed to travel, pool, cling, and hover.
Immersion is not a metaphor here — it is a physical condition. Colour surrounds the body. Light bends. Depth becomes uncertain. The work asks to be navigated rather than viewed from a single point.
Suspended forms and sculptural fragments
I carve through painted planes and suspend sculptural fragments from ceilings, radiators, and beams. Forms hover, tuck themselves into corners, flick onto walls, scurry across floors, or float just above doorways.
These works sit in states of tension — held, pinched, balanced. They appear light or fleeting, but are carefully constructed, responding to gravity, space, and proximity.
Sediment, surfaces, and shifting colour
Snapshots of sediment are brushed and sprayed to create surfaces that shimmer and shift as you move around them. I’m interested in how colour behaves when it’s layered, diffused, and allowed to interact with light.
The picture plane is never static. It responds to movement — of the body, of light, of time.
Palette and memory
My palette draws on synthetic, high-key colour — fluorescent pigments, metallics, reflective surfaces — diffused through layers of paint and process. There are echoes of childhood colour obsessions, industrial materials, and luminous light.
Rainbows appear not as symbols, but as optical events — refractions, dispersions, moments where light breaks and re-forms.
Everything I make begins with attention — to material, to space, to how the body feels moving through an environment. The work holds moments of suspension and pause, inviting viewers to slow down and experience colour as something physical, present, and alive.
If you’re interested in commissioning get in touch → or view my portfolio of works here →.