My paintings begin with the natural landscape, but they are less interested in depicting it than in translating it — exploring how pattern, colour, and gesture can hold the feeling of a place rather than its likeness. Layers of built-up and stripped-back paint echo accumulation over time — weather, season, light, erosion — while a recurring horizon line anchors each canvas between what is known and what is felt. Titles draw on the language of land and sea, offering a quiet point of entry rather than an explanation. The result sits between abstraction and landscape: paintings that ask to be felt as much as read.