STATEMENT

My work is concerned with the psychological and emotional dimensions of human experience—the ways memory, perception, longing and inner states can alter how we experience ourselves and the world around us.

My current body of work explores these ideas through nature. Landscapes, flowers, water and skies become psychologically charged spaces rather than literal representations of the natural world. I am interested in the tension between what is physically present and what is internally experienced: how something beautiful can carry unease, how tranquillity can contain turbulence, and how memory can transform a familiar place into something entirely personal.

Having lived between cultures and landscapes, ideas of memory, belonging and displacement naturally enter my work. Elements of the places I have inhabited, particularly Bangladesh and Ireland, become intertwined with imagination and recollection. The resulting environments often exist somewhere between the observed and the remembered.

Colour is central to my visual language. I work instinctively with bright, saturated and sometimes unexpected colour, using it as an emotional and psychological device rather than simply to describe reality. Familiar forms can be heightened, reversed or transformed, allowing the recognisable to become dreamlike or subtly unsettled.

Working primarily in oil, I am equally interested in the physical presence of a painting. Layers of pigment, visible brushwork and variations in density create richly textured surfaces intended to evoke an almost sensory response. I want the viewer to feel the abundance of foliage, the turbulence of water or the weight of an atmosphere rather than simply observe it.

While nature forms the foundation of my current series, my wider practice is an ongoing exploration of the human psyche. I am interested in extending this language into the human form and examining psychology, identity and interior experience more directly as the work evolves.

Rather than committing myself to a single subject, I see painting as a means of investigating the relationship between the visible world and our internal one.

Ultimately, I want the work to be experienced before it is explained—to create paintings whose colour, texture and atmosphere are felt instinctively before their meaning is consciously understood.

My subject is not simply what we see, but what it feels like to experience it.