My paintings embody a contemporary revision of Impressionism, turning to the movement’s obsession with light and the female subject, whilst presenting a perverse, post-industrial luminosity: neon and acid, synthetic and sublime. A departure from romantic boudoirs or Degasian ballet studios, my settings are decimated interiors and liminal urban peripheries. They are techno nightclubs, gothic facades, post-climate crisis gardens, dreamlike rooms of quiet surveillance. Within these scapes, women confront and evade the gaze in equal measure—framed not as muses but as complex avatars of autonomy and unrest. Often confronting the viewer with theatrical poise, only to dissolve into expressive gesture or visual noise, their gazes glitch between confrontation and withdrawal. These women do not ask to be interpreted. They exist in moments of disjunction: reclining yet uneasy, luminous yet fragmented. These works are psychological dioramas. Existing outside traditional portraiture, these psychological projections resist legibility, yet echo the inscrutable poise of Tudor women—composed like icons, their gazes lacquered in secrecy.

Exploring the tension between subject and setting, desire and estrangement, faces might surface in mirrors, or merge with botanical apparitions. Recurring motifs such as screens, reflective pools and lavish drapery—act as portals rather than props. They heighten the sense that these scenes are suspended somewhere between the private and the performative, the sacred and the synthetic. The canvas is void of time specificity, with outdated modes of technology such as old TVs and nostalgic test screens, abstracting and blurring the line between concrete figure and surrounding. Emerging from environments that are neither real nor imagined, my figures arrive distorted or haloed by light, their bodies forged from the same erratic gestures that summon the landscape around them. In these scenes, the personal merges with the spectral. Narrative remains just out of reach. My paintings offer a meditation on contemporary shadow. Tracing how scenes of social play—so often coded as trivial—become spaces where memory, power, and vulnerability coagulate. I paint through the chaos of these environments: sound spilling into colour, bodies dissolving into flora, intimacy erupting mid-motion. Each canvas becomes a psychic map, drawing on my own references, archives, and recollections, reconstituted through expressive gesture.