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2020, 2020
(POR)
mixed-media on board
77.5 cm x 97 cm
2020 was my first painting of 2020, and painted during the first COVID-19 Lockdown. It engages with the complexity of emotions that were being felt globally; such as fear of the unknown, the possibility of a pandemic being the beginning of something worse to come, and lots of questions, but no answers.
The dark palette of Black and Blues are cold and reminiscent of the isolation that was being experienced on a global scale. This interplay of light and dark, soft and hard is also expressed through the contrast of the different textures; which appear organic; similar to that of the surace of the moon or a birds eye view of our Planet Earth or the darkest depths of the Sea. The process of creating this painting felt intuitive. Although the palette is muted, the juxtaposition of the colours and texture make the painting silently powerful. The painting invites the viewer to be contemplative and reflective. There’s a certain confidence in this piece; that nature is all encompassing and it will still be here long after we have gone. The painting 2020 is not loud or asking for attention and it isn’t shouting: ‘look at me!’ - because it doesn’t need to.
mixed-media on board
77.5 cm x 97 cm
2020 was my first painting of 2020, and painted during the first COVID-19 Lockdown. It engages with the complexity of emotions that were being felt globally; such as fear of the unknown, the possibility of a pandemic being the beginning of something worse to come, and lots of questions, but no answers.
The dark palette of Black and Blues are cold and reminiscent of the isolation that was being experienced on a global scale. This interplay of light and dark, soft and hard is also expressed through the contrast of the different textures; which appear organic; similar to that of the surace of the moon or a birds eye view of our Planet Earth or the darkest depths of the Sea. The process of creating this painting felt intuitive. Although the palette is muted, the juxtaposition of the colours and texture make the painting silently powerful. The painting invites the viewer to be contemplative and reflective. There’s a certain confidence in this piece; that nature is all encompassing and it will still be here long after we have gone. The painting 2020 is not loud or asking for attention and it isn’t shouting: ‘look at me!’ - because it doesn’t need to.
Walls that forged dreams, 2018
£1800
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, 2017
£1800
Triptych, Acrylics and mixed-media on wood panel.
Image size 30 x 30 cm
Set inside black floating frames.
Framed dimensions 34 x 34 cm
Red Earth voices my concern of Kali Yuga "age of [the demon] or "age of vice") which is the last of the four stages the world goes through as part of the cycle of yugas described in the Sanskrit scriptures.
Triptych, Acrylics and mixed-media on wood panel.
Image size 30 x 30 cm
Set inside black floating frames.
Framed dimensions 34 x 34 cm
Red Earth voices my concern of Kali Yuga "age of [the demon] or "age of vice") which is the last of the four stages the world goes through as part of the cycle of yugas described in the Sanskrit scriptures.
Blue Beginnings, 2020
£1200
mixed-media on board
91 x 75.5 cm
Framed: 95.5 x 79.5
mixed-media on board
91 x 75.5 cm
Framed: 95.5 x 79.5
Rise, 2020
£1200
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
£1200
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, 2020
£500
49.5 X 40 cm
Acrylics, straw and mixed media on canvas
49.5 X 40 cm
Acrylics, straw and mixed media on canvas
Cotton Land, 2020
£1800
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, 2020
£1800
Mixed-media on Canvas
100 x 50 cm
Mixed-media on Canvas
100 x 50 cm
The Ruining of your Splendour, 2018
£1800
£2500
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, 2017
£3000
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.
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.
The Depths of Abandonment, 2018
£4500
Acrylics and mixed-media on Canvas.
79.7 x 53 x 4 cm
The Depths of Abandonment, is a reimagined landscape painting, and reflects a dark time I was grappling with in my personal life; consisting of loss, disappointment and observations of a world that is becoming increasingly distracted and directed away from things that are important. The title is considered because I wanted the painting to carry the weight I was feeling in my own body and mind at the time.There is a deep sense of abandonment felt on multiple levels; people abandoning themselves, nature, simplicity, simple pleasures and raising questions like; what really matters and how deep does our abandonment go? To arrive to the the depth of any emotion I am experiencing; I feel it is best expressed and portrayed through nature.
The dark muddy colours depict a sense of decay; the wintry nature elements conjure a bleak coldness. The canvas is layered with acrylic paint, impasto and coffee to create a textured surface. The darker palette also echoes my concern for self-destruction, environmental destruction, and confronts the tension between the natural world and the suffering of other life forms from human errors.
The composition of the lake in the painting is intentionally confined and enclosed to the centre so that the viewer is able to experience it more intimately. The reflections in the water invite the viewer to become present of their own sentience of the natural world and notions around abandonment.
Although The Depths of Abandonment carries a bleak vision with a sense of loneliness and forsakenness, it also remains celebratory in the power of Mother Nature and its infinite power.
Acrylics and mixed-media on Canvas.
79.7 x 53 x 4 cm
The Depths of Abandonment, is a reimagined landscape painting, and reflects a dark time I was grappling with in my personal life; consisting of loss, disappointment and observations of a world that is becoming increasingly distracted and directed away from things that are important. The title is considered because I wanted the painting to carry the weight I was feeling in my own body and mind at the time.There is a deep sense of abandonment felt on multiple levels; people abandoning themselves, nature, simplicity, simple pleasures and raising questions like; what really matters and how deep does our abandonment go? To arrive to the the depth of any emotion I am experiencing; I feel it is best expressed and portrayed through nature.
The dark muddy colours depict a sense of decay; the wintry nature elements conjure a bleak coldness. The canvas is layered with acrylic paint, impasto and coffee to create a textured surface. The darker palette also echoes my concern for self-destruction, environmental destruction, and confronts the tension between the natural world and the suffering of other life forms from human errors.
The composition of the lake in the painting is intentionally confined and enclosed to the centre so that the viewer is able to experience it more intimately. The reflections in the water invite the viewer to become present of their own sentience of the natural world and notions around abandonment.
Although The Depths of Abandonment carries a bleak vision with a sense of loneliness and forsakenness, it also remains celebratory in the power of Mother Nature and its infinite power.
Fallen Cries, 2015
£5500
Acrylics & mixed-media on canvas.
88 x 68 cm (framed dimensions)
Framed in a Black floating box frame.
Fallen Cries, gives nature a voice, and asks the question- Do we hear the cries of nature? A Black tree dominates the centre of the canvas; the branches sprawl across the edges conveying an immense presence and power. The dark tree is bare, and forms a similar formation of a crack. When a crack goes untreated it continues to grow, much like the ignored or unheard cries of Nature. Fallen Cries echoes my concerns for self-destruction, environmental destruction, and the tension between the natural world and human errors. The tree is also symbolic of the connection between humans and nature. The dripping paint and ink patterns at the lower half of the canvas convey how the roots of the tree resemble the veins that run through our own body to keep our blood moving.
There is an element of something spiritual and mystical in this painting; the combination of warm earthy colours and a tree to be almost floating on a rainy cloud constructs a magical and fantastical image. I believe nature’s beauty in all its elements possesses an inexhaustible vitality and the promise of infinity.
Acrylics & mixed-media on canvas.
88 x 68 cm (framed dimensions)
Framed in a Black floating box frame.
Fallen Cries, gives nature a voice, and asks the question- Do we hear the cries of nature? A Black tree dominates the centre of the canvas; the branches sprawl across the edges conveying an immense presence and power. The dark tree is bare, and forms a similar formation of a crack. When a crack goes untreated it continues to grow, much like the ignored or unheard cries of Nature. Fallen Cries echoes my concerns for self-destruction, environmental destruction, and the tension between the natural world and human errors. The tree is also symbolic of the connection between humans and nature. The dripping paint and ink patterns at the lower half of the canvas convey how the roots of the tree resemble the veins that run through our own body to keep our blood moving.
There is an element of something spiritual and mystical in this painting; the combination of warm earthy colours and a tree to be almost floating on a rainy cloud constructs a magical and fantastical image. I believe nature’s beauty in all its elements possesses an inexhaustible vitality and the promise of infinity.
Snow Storm, 2016
£850
Acrylics and mixed-media on Canvas
Image size: 67.5 x 53.5 cm
Framed dimensions 72 x 57.5 cm
Acrylics and mixed-media on Canvas
Image size: 67.5 x 53.5 cm
Framed dimensions 72 x 57.5 cm
Dust Storm, 2016
£1500
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
POR
Please contact me if interested.
Mixed Media, Swarovski Crystals, Fabric and Acrylics on Canvas
120 x 166 cm
W:47.24 x H:65.23 x D: 1.77 inches
Please contact me if interested.
Mixed Media, Swarovski Crystals, Fabric and Acrylics on Canvas
120 x 166 cm
W:47.24 x H:65.23 x D: 1.77 inches
Blue Mist, 2020
£275
Acrylics on 300gsm rough grain torchon watercolour paper.
Image size: 42 x 29.7 cm, Mounted and Framed 44 X 54 cm
Acrylics on 300gsm rough grain torchon watercolour paper.
Image size: 42 x 29.7 cm, Mounted and Framed 44 X 54 cm
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
Sunflowers, 2022
£5000
Oil on canvas, 71 x 103cm
(price includes having a bespoke frame).
Oil on canvas, 71 x 103cm
(price includes having a bespoke frame).
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