My artistic practice is situated at the intersection of painting, drawing, and sculpture, and is underpinned by a sustained investigation into perception, material agency, and spatial coherence. The conceptual grounding of this work can be traced to my early exposure to high-level creative processes. After leaving school, I was selected for an Elle magazine competition that led to an international modelling career—an unexpected entry point into the studios, sets, and working environments of visionary artists, designers, and photographers. Encounters with figures such as Bert Stern, Oliviero Toscani, Tony Kaye, Vivienne Westwood, and others offered close access to the mechanics of image construction, experimentation, and spatial choreography. Performing within the Bauhaus Museum in Dessau for Vidal Sassoon’s 50th anniversary, immersed in Gropius’s architectural rationalism, established an early attunement to geometry, structure, and spatial order that continues to inform the work.

Although my practice acknowledges the influence of artists such as Franz Kline, Agnes Martin, Frank Stella, Sol LeWitt, Josef Albers, Ellsworth Kelly, and Robert Rauschenberg, these references act as intellectual catalysts rather than stylistic templates. The work extends these legacies into a new approach shaped by my own conceptual concerns—specifically the pursuit of structure emerging from chaos and harmony resolved from perceptual disorder.

Early gestural monochromes, indebted to the immediacy of Kline, initiated an exploration of chaos as an active force. Over time, this evolved into rigorous systems of geometry, modulation, and spatial order that reflect my ongoing attempt to transform instability into coherence. Rotating sculptural painting forms, for example, juxtapose blurred, expressive surfaces with concentric geometries, collapsing intuitive mark-making into structured visual logic.

The materials themselves—masking tape, primer, MDF, plexiglass—operate as conceptual agents, not merely supports. Their elevation from utility to primary subject matter parallels my broader interest in how order is constructed from the overlooked, the provisional, and the contingent.

Colour is deployed analytically, drawing on Albers and Kelly, not to emulate them but to pursue my own enquiries into vibrational harmony, dissonance, and the tension between optical clarity and perceptual ambiguity. Technical drawing, executed through analogue tools, further embodies the negotiation between control and indeterminacy: hand-measured ellipses, helices, and grids enact a disciplined attempt to stabilise the unruly.

A recent collaboration with photographer James Dean Diamond has produced charcoal drawings derived from motion-blurred photographs of architectural sites such as the V&A Exhibition Road Quarter, the National Gallery, and Parisian Regency buildings. These works invert conventions of photographic realism, instead foregrounding rhythm, temporal instability, and the dissolution of fixed form—again pursuing the transformation of disorder into spatial coherence.

Across these bodies of work, my practice advances a distinct conceptual position: an ongoing effort to reconcile instability with structure, intuition with system, and perceptual ambiguity with visual clarity. Through this lens, the work proposes a contemporary rethinking of abstraction—one in which harmony is not given but constructed, emerging through a process of negotiating chaos into form.