My painting practice explores the interplay of light, time, and memory—often through landscapes that feature the sky and sea. I’m drawn to the atmospheric qualities of these elements: the way they shift, mirror one another, and blur boundaries. I aim to illustrate the unique fusion of the sublime and the atmospheric, and convey a sense of grandeur and emotion. I am most interested in working out a way to paint a scene that presents the passage of time. Capturing these constantly shifting qualities, reflecting not only what is seen, but also how it is felt. 

This fascination with time and flux came about when I began capturing my reference images while sketching en plein air. Rather than capturing a single moment of time in the way a camera, I’d more be depicting the scene over time, and the energy and feel of it. As the composition is in a constant state of flux and transformation, the image is ultimately an interpretation of time; the hundreds of waves that have passed through, and the many iterations of cloud formations. 

This approach is deeply informed by my interest in memory and perception. I’m curious about how we internalise natural environments and how memory alters what we see. My work doesn’t aim for realism but rather a kind of felt accuracy—one that acknowledges the mutability of experience. I often work on a large scale, creating immersive oil paintings that allow for subtle shifts in tone, colour, and movement.