I’m interested in expanded forms of painting that serve as personal survival mechanisms in our contemporary world. My practice isn’t about making monumental statements but rather exploring intimate, accessible gestures that resonate with a wide audience. I make a lot of different things — objects, fragments, components — and they all orbit around this idea of emotional and physical response.

Repair and collapse are ongoing themes for me. I explore the idea of things hanging by a thread, of objects holding themselves and perhaps us together. I want materials to evoke something tactile and speak where words fail. I’m also interested in measurement, concealment, and how we engage with the invisible, particularly around pain — both personal and environmental. These ideas keep returning in new forms.

Fragmentary, intentionally so. My website and way of working reflect that — little pieces that may or may not fit together. It’s like building a beaded necklace from mismatched bits, which probably comes from my background in the jewellery industry. I see my work as layered, playful, and open to interpretation.

Yes, there’s a push and pull between joy and vulnerability. People often describe my work as cheerful or fun, even though a lot of it comes from darker reflections — about survival, pain, protection. But I love that it can speak differently to everyone. If someone sees something in my work that I never intended, I welcome that.

Besides my website and social media, I often like to give away small objects — hand-painted postcards, wearable pins — that act like survival charms or tokens. They're modest but carry emotional value. One person even wore theirs into surgery. These gestures allow me to share something tangible and thoughtful with the audience.

Yes, the small giveaway pieces — the pins, the postcards — have become something people associate with me. They’re simple gestures, but they resonate deeply. I think of them as small emotional anchors. And the circle logo has also stuck — I feel a strong attachment to it as a symbol.

I’ve been trying to write more, even if it’s just small fragments of text. I always say I’ll do more ceramics, but I keep being drawn back to papier-mâché. There’s something satisfying about its simplicity and sustainability. I'm also planning to return to publishing — perhaps an instruction-based book, or something interactive and open-ended.

I’d like to keep finding ways to share work in unexpected forms — gifts, collaborations, tiny gestures that land softly but linger. I’m also really excited about working with new people and creating fresh energy around my pieces. I feel lucky to have a studio and time to make things — it’s always about finding new doors to open.

This summer, I’ll be involved in some collaborative teaching projects, which I’m really excited about. I’m also working on trying to get a couple of two person shows off the ground - it’s always really interesting to see work in conversation.