YOUR PRACTICE OFTEN EXPLORES THE INTERSECTION OF TACTILE MATERIALS AND LAYERED EMOTIONS OF VULNERABILITY WITHIN INTERIOR SPACES IN REFERENCE TO NATURE. HOW DO YOU SEE THE RELATIONSHIP BETWEEN THESE TWO CONCEPTS EVOLVING IN THE FUTURE, AND HOW DOES THIS INFORM THE WORK'S CREATIVE DIRECTION AND CONCEPT DEVELOPMENT?

For me, using tactile materials and references to nature has always been about keeping things human and emotional. That comes through most clearly in the interiors I paint - they’re mostly imagined, but they function as safe spaces. They’re filled with familiar and personal elements, while also leaving room for little surprises. I like that balance because it reflects how vulnerability feels: comforting but also unpredictable.

Looking ahead, I think this connection will only get stronger. As life becomes more digital, people seem to crave grounding environments that feel authentic and imperfect. That’s why I keep returning to imagined interiors, they’re not about creating ideal homes, but about making spaces where fragility and joy can coexist. I imagine these interiors evolving into even richer emotional landscapes, where the mix of comfort and surprise mirrors the shifting ways we deal with vulnerability in our daily lives.

This shapes how I work: I think a lot about colours, objects, and compositions so they carry both intimacy and openness. My hope is that these interiors give viewers a place to pause and feel held, while also being nudged toward new possibilities. Moving forward, I want to keep expanding that creating environments that aren’t just visually appealing, but emotionally inhabitable.

WHAT PART OF 4BYSIX'S INITIATIVE INSPIRED YOU TO PARTICIPATE IN, AND HOW DO YOU SEE IT ALIGNING WITH YOUR URGE TO FIGHT PERCEIVING THE WORLD WITHIN A TECHNICAL REALM?

I was drawn to 4BYSIX because they give discarded materials a second life and connect that directly to community care. Painting on something that’s already lived a bus panel, a lorry curtain means the surface comes with its own story and scars. That mix of reuse and social impact feels honest and necessary to me.

It also aligns with how I try to resist a purely technical way of seeing the world. My work leans into the handmade, the imperfect, the human scale warm interiors, familiar objects, small surprises. 4BYSIX’s projects supporting homeless and vulnerable communities, running workshops, etc show that art isn’t just about making things, it’s about contact. It shifts the focus from efficiency and polish to care, stories, and time.

When I make something for them, I think about hospitality on multiple levels: welcoming the marks already in the material, welcoming viewers into a safe, personal space, and welcoming the idea that art can do real-world good. That feels like the opposite of a technical lens it’s a human one.

AS YOUR WORK IMBUES CARE AND ATTENTION TO THE FRAGILITY OF THE NATURAL WORLD, HOW HAVE YOU FOUND WORKING ON AN UNCONVENTIONAL CANVAS MADE FROM RECYCLED MATERIALS?

Working on recycled materials felt very natural to me. They arrive with scratches, folds, and imperfections, which I see less as flaws and more as character. Instead of starting from a pristine white canvas, I’m beginning with something that’s already lived in the world. That changes the process: I respond to what’s there, incorporate its marks, and let it guide me.

It feels like a collaboration with the material itself. In that sense, it deepens the themes I’m drawn to finding beauty in imperfection, honouring what’s overlooked, and creating spaces that feel both vulnerable and safe. Using recycled materials grounds the work further and reinforces the idea that care and attention can transform what might otherwise be discarded.

HOW WOULD YOU DEFINE THE CORE FOCUS OF YOUR WORK AND WHAT DRIVES YOU TO CREATE ART? HAVE YOU FOUND THIS TO EVOLVE ON A PROJECT-TO-PROJECT BASIS OR AS THE CONDITION OF THE WORLD BECOMES MORE UNSTABLE BY THE YEAR?

At its heart, my work is about celebrating the simple things that make life worth living plants, interiors, familiar objects, moments of joy while also acknowledging their fragility. I want to create images that feel like safe spaces, filled with care but also with a touch of surprise to keep them alive and human. What drives me is the hope that this kind of art can offer viewers a pause, a reminder of beauty, and maybe even a sense of comfort or connection.

Of course, it evolves. On a project-to-project basis, I’m always responding to new materials, ideas, or collaborations. But there’s also a bigger shift: as the world feels more unstable, the urge to create these spaces of joy and refuge becomes stronger. The work becomes not just about personal expression, but about offering a counterbalance to anxiety and uncertainty a way of insisting on care, vulnerability, and optimism, even when things are shaky.

CAN YOU TELL US ABOUT ANY PROJECTS YOU ARE WORKING ON NOW? WHAT IS NEXT FOR YOU?

I’ve got some exciting things on the horizon. Exhibition-wise, I’m preparing for a duo show with the wonderful Ralf Kokke in Germany, opening on October 10th, which I’m really looking forward to. Showing alongside another painter I admire always sparks new ideas and conversations, so I’m curious to see how our works play off each other in the space.

Beyond exhibitions, I’m also working on something quite different: a collection of household goods with a major retailer, launching next spring. That project excites me because it makes my art part of people’s daily lives in a more tangible and accessible way through objects they use and enjoy every day. And the fact that it will be affordable means people who might not usually be able to collect my work can still bring a piece of it into their homes.

So what’s next is really a mix of continuing with the traditional gallery path while also exploring how art can live in new contexts and reach people in unexpected but meaningful ways.