I’ve lived in Sydney for many years, immersed in the beauty of the Australian coastline and vast landscape. When COVID narrowed the world, that expansiveness disappeared overnight.
In that stillness, I picked up a paintbrush for the first time. Without formal training, I worked instinctively, layering tone and texture without rules. The absence of structure became freedom.
I’m drawn to aerial perspective. From above, boundaries blur and land dissolves into abstraction. Distance brings clarity. That vantage point now anchors my work.
Each painting is conceived as a singular piece. I believe in the presence of an original. The layered pigment, texture and physical depth that cannot be replicated. A painting carries the energy of its making.
For this reason, my practice does not centre on mass production or open editions. Each work stands alone. Limited editions, when released, are rare and considered.
The commitment remains the same: to preserve the integrity and individuality of every piece.
Technology & Art
Entering the art world felt daunting. I carried a persistent imposter syndrome. After all, I didn’t study art. Far from it. My background is in engineering, and I’ve built a career in technology and AI. I no longer consider that as a weakness. The dichotomy between careers has given my me clarity.
Technology influenced me to analyse scale, perception, and structure. And yet, in an era of infinite digital possibilities, I choose the singular and handmade. One world rewards scale; other demands presence. In a culture of acceleration, I choose slowness.
Exploring the space between both worlds, I drew on my technology background to create my own viewcatcher- mapping each painting onto satellite imagery so the real landscape and abstraction can meet and converse.