A fascination for pattern is plainly obvious within my work. I am obsessed with shapes and forms that merge and interconnect with one another. I love the tension created between abstract forms competing on a surface. Vibrant colour is important to me, which when matched with complicated forms, renders my work somewhat psychedelic. I want the viewer to constantly be engaging with new parts of my paintings that they hadn’t noticed before.

The Pattern and Decoration movement of the mid 70s to early 80s has had a signifcant impact on my work. The movement challenged the widely shared opinion that decorative art was ‘superfcial’ and ‘ornamental’ and reinstated its value. The feminist background to this movement and how it re-shaped the perception of decorative, pattern art in the creative scene has had a real impact on how I make and view my own work. Similarly the 80s movement Memphis Design has been an inspiration to my practice thanks to its bold, outrageous installation design and wallpaper. A marriage of the delicate visuals of the Pattern and Decoration movement with the daring, graphic characteristics of Memphis Design is how I would describe my practice.

Presently, natural imagery such as gum bark and water refections, alongside 60s psychedelic graphic design, form the inspiration for my work. I work painting from zoomed in elements of these inspirations, creating exciting, abstract shapes and forms that cannot be traced back to their original source material. My current body of work centres around gestural, fuid mark-making using acrylic on stretched chiffon material. The way I make work is instinctual and can be best described as problem solving – fguring out what needs to be where in order for the painting to make sense