2020
2020
mixed-media on board
77.5 cm x 97 cm
mixed-media on board
77.5 cm x 97 cm
Walls that forged dreams
2018
Mixed media on Canvas and mounted on wood board
71 x 54 cm
Mixed media on Canvas and mounted on wood board
71 x 54 cm
To The Point Of Blue
Private Collection, UK
2015
2015
Drifting Raincloud
Private Collection, UK
2015
2015
Red Earth
Blue Beginnings
mixed-media on board
91 x 75.5 cm
Framed: 95.5 x 79.5
91 x 75.5 cm
Framed: 95.5 x 79.5
Rise
2020
Acrylics, straw and mixed media on canvas
60 x 60 cm
Framed: 64.5 x 64.5
Acrylics, straw and mixed media on canvas
60 x 60 cm
Framed: 64.5 x 64.5
Straw into Gold
2020
Acrylics, straw and mixed media on canvas
60 x 60 cm
I seek for an element of beauty in my work and for the point of entry to be intriguing to evoke an emotion in people. My painting Straw into Gold has sprinkles of gold glitter that blanket the thick layers of straw and glisten in the light. The prussian blue sky is met with iridescent teal highlights created by painting on top of gold leaf to create a sense of magic and wonder. The title Straw into Gold is a reference to my favourite childhood fairy tale Rumpelstiltskin, as it mirrors my process of making work which feels much like turning “straw into gold” as I strive to give new meaning to collected, reclaimed and salvaged items. The composition of the straw has been deliberately designed to encompass the canvas and go wildly beyond the edges to capture the boundless and infinite power of nature.
Framed: 64.5 x 64.5
Acrylics, straw and mixed media on canvas
60 x 60 cm
I seek for an element of beauty in my work and for the point of entry to be intriguing to evoke an emotion in people. My painting Straw into Gold has sprinkles of gold glitter that blanket the thick layers of straw and glisten in the light. The prussian blue sky is met with iridescent teal highlights created by painting on top of gold leaf to create a sense of magic and wonder. The title Straw into Gold is a reference to my favourite childhood fairy tale Rumpelstiltskin, as it mirrors my process of making work which feels much like turning “straw into gold” as I strive to give new meaning to collected, reclaimed and salvaged items. The composition of the straw has been deliberately designed to encompass the canvas and go wildly beyond the edges to capture the boundless and infinite power of nature.
Framed: 64.5 x 64.5
Straw into Gold II
49.5 X 40 cm
Acrylics, straw and mixed media on canvas
Acrylics, straw and mixed media on canvas
Cotton Land
2020
Acrylics, straw and mixed media on board
90 x 65 cm
Acrylics, straw and mixed media on board
90 x 65 cm
No Time For Water Lilies
Mixed-media on Canvas
100 x 50 cm
100 x 50 cm
The Ruining of your Splendour
2018
Oil, straw, dry roses, glass, crystals & mixed media on birch Plywood
43 x 63 cm
My painting The Ruining of your Splendour was a reaction to the waste and disregard I was seeing on my walks where I live in West London. Where I saw beauty - there was also a ruining. I’ve used a darker pallet to echo my concern for self-destruction, environmental destruction, and to confront the tension between the natural world and the suffering of other life forms from human errors. I have embedded crystals and diamond dust in between layers of straw which glint in the light. This interplay of light and dark, soft and hard is also expressed through the contrast of red petals against rough straw textures and glass shards. There is beauty and yet there is also pain and violence. The straw has been deliberately composed to dominate the surface as I want my imagined landscapes to remain celebratory in Mother Nature and to voice the boundless and infinite power of nature.
Oil, straw, dry roses, glass, crystals & mixed media on birch Plywood
43 x 63 cm
My painting The Ruining of your Splendour was a reaction to the waste and disregard I was seeing on my walks where I live in West London. Where I saw beauty - there was also a ruining. I’ve used a darker pallet to echo my concern for self-destruction, environmental destruction, and to confront the tension between the natural world and the suffering of other life forms from human errors. I have embedded crystals and diamond dust in between layers of straw which glint in the light. This interplay of light and dark, soft and hard is also expressed through the contrast of red petals against rough straw textures and glass shards. There is beauty and yet there is also pain and violence. The straw has been deliberately composed to dominate the surface as I want my imagined landscapes to remain celebratory in Mother Nature and to voice the boundless and infinite power of nature.
Ruminate
Acrylics and mixed-media on Canvas.
95 x 66 cm
My painting Ruminate is an energetic and wild landscape. I have used a pallet knife to create erratic and organic formation. The use of thick impasto allowed me to exaggerate the movement of the marks and give depth to the canvas and a feeling of heaviness. The organic forms dominate the canvas, I want the viewer to explore, to ruminate on every mark and detail and become present of their own sentience of the Natural world. My desire to construct magical and fantastical imagery stems from my own fear of a world that is increasingly becoming mechanical.
95 x 66 cm
My painting Ruminate is an energetic and wild landscape. I have used a pallet knife to create erratic and organic formation. The use of thick impasto allowed me to exaggerate the movement of the marks and give depth to the canvas and a feeling of heaviness. The organic forms dominate the canvas, I want the viewer to explore, to ruminate on every mark and detail and become present of their own sentience of the Natural world. My desire to construct magical and fantastical imagery stems from my own fear of a world that is increasingly becoming mechanical.
The Depths of Abandonment
2018
Acrylics and mixed-media on Canvas.
79.7 x 53 x 4 cm
My industrial surroundings draw me closer to create works rooted in nature and to seek for an element of beauty and for the point of entry to be intriguing to evoke an emotion in people. My painting The Depths of Abandonment carries a bleak vision with a sense of loneliness and forsakenness but remains celebratory in the power of Mother Nature and its infinite power. I’ve used a darker pallet to echo my concern for self-destruction, environmental destruction, and to confront the tension between the natural world and the suffering of other life forms from human errors. The composition of the lake and the reflections in the water render a sense of depth to draw the viewer's eye into the centre of the painting. The title further invites the viewer to become present of their own sentience of the natural world and notions around abandonment.
Acrylics and mixed-media on Canvas.
79.7 x 53 x 4 cm
My industrial surroundings draw me closer to create works rooted in nature and to seek for an element of beauty and for the point of entry to be intriguing to evoke an emotion in people. My painting The Depths of Abandonment carries a bleak vision with a sense of loneliness and forsakenness but remains celebratory in the power of Mother Nature and its infinite power. I’ve used a darker pallet to echo my concern for self-destruction, environmental destruction, and to confront the tension between the natural world and the suffering of other life forms from human errors. The composition of the lake and the reflections in the water render a sense of depth to draw the viewer's eye into the centre of the painting. The title further invites the viewer to become present of their own sentience of the natural world and notions around abandonment.
Fallen Cries
Private Collection, UK
88 x 68 cm (framed dimensions) Mixed media on canvas
Framed in a Black floating box frame.
88 x 68 cm (framed dimensions) Mixed media on canvas
Framed in a Black floating box frame.
Snow Storm
2016
Acrylics and mixed-media on Canvas
Image size: 67.5 x 53.5 cm
Acrylics and mixed-media on Canvas
Image size: 67.5 x 53.5 cm
Dust Storm
2016
Acrylics and mixed-media on Paper
(Double mount Silver and Black and Black frame)
Image size: 84 x 60 cm
Framed Dimensions 114.5 x 92 cm
Acrylics and mixed-media on Paper
(Double mount Silver and Black and Black frame)
Image size: 84 x 60 cm
Framed Dimensions 114.5 x 92 cm
C_Space
2014
Price on request
Please contact me if interested.
Mixed Media, Swarovski Crystals, Fabric and Acrylics on Canvas
120 x 166 cm
2014
W:47.24 x H:65.23 x D: 1.77 inches
Price on request
Please contact me if interested.
Mixed Media, Swarovski Crystals, Fabric and Acrylics on Canvas
120 x 166 cm
2014
W:47.24 x H:65.23 x D: 1.77 inches
Blue Mist
2020
Whispers of a Storm
Private Collection, UK
Acrylics and mixed-media on textured acid free 100% cottom paper.
Sold Framed: 73 x 56.5 cm
Acrylics and mixed-media on textured acid free 100% cottom paper.
Sold Framed: 73 x 56.5 cm
Red Peak
Private Collection, UK
mixed media on birch Plywood
22 x 35 cm
mixed media on birch Plywood
22 x 35 cm
When the wind blows II
Private Collection, UK
Oil on birch Plywood
43 x 43 cm
2018
Oil on birch Plywood
43 x 43 cm
2018
When the wind blows
Private Collection, UK
Oil on birch Plywood
43 x 43 cm (Framed)
2018
Oil on birch Plywood
43 x 43 cm (Framed)
2018
Raindrop Rainforst
Private Collection, UK
2014
2014
Northala Fields
Private Collection, Amsterdam
2018
My Painting was inspired by my walk in Northala Fields Park, an award winning green space located in Northolt, Greater London. My industrial surroundings draw me closer to create works rooted in nature. Northala Fields is a popular spot people use to go for walks, watch the sunset, go fishing and for picnics. It's a green space I treasure.
Northala Fields Park opened in 2008 and consists of four artificial hills standing next to the A40 Western Avenue, The name "Northala" is how the old manor of Northall (Northolt) was recorded in the Domesday Book in 1086.
It is situated on what was the Royal Borough of Kensington Playing Fields after being leased to them in 1938. The section of the Ealing Road that formed the eastern perimeter was then renamed Kensington Road.
My painting captures a day there was a light breeze. I used my camera to photograph the dry grass and plants on the hills. I have used birch plywood as the the surface to paint on. It allowed me to apply a thick texture of oil-paint and a stronger surface to use the desired mark-making and brushstrokes I needed. My intention was to capture a moment, but also a feeling of being close to nature.
2018
My Painting was inspired by my walk in Northala Fields Park, an award winning green space located in Northolt, Greater London. My industrial surroundings draw me closer to create works rooted in nature. Northala Fields is a popular spot people use to go for walks, watch the sunset, go fishing and for picnics. It's a green space I treasure.
Northala Fields Park opened in 2008 and consists of four artificial hills standing next to the A40 Western Avenue, The name "Northala" is how the old manor of Northall (Northolt) was recorded in the Domesday Book in 1086.
It is situated on what was the Royal Borough of Kensington Playing Fields after being leased to them in 1938. The section of the Ealing Road that formed the eastern perimeter was then renamed Kensington Road.
My painting captures a day there was a light breeze. I used my camera to photograph the dry grass and plants on the hills. I have used birch plywood as the the surface to paint on. It allowed me to apply a thick texture of oil-paint and a stronger surface to use the desired mark-making and brushstrokes I needed. My intention was to capture a moment, but also a feeling of being close to nature.