My primary objective with every piece I create is to highlight the beauty in the unconventional.

Despite its experimental nature, my practice is anchored by a distinctive visual language defined by signature patterns, a nuanced understanding of colour theory, and meticulous attention to detail.

What began as instinctive doodles on the backs of notebooks and loose sheets of paper during my early school years has evolved into the foundation of my practice. Through recurring motifs and pattern-making, I have developed a visual vocabulary that transcends medium. Finding expression across painting, furniture, textiles, and product design.

I continually explore new ways of translating this visual language across the different media I engage with. A single motif can be isolated from a larger composition and reinterpreted as the basis for a functional object, such as a stool; allowing the same visual vocabulary to exist simultaneously as image, object, and design.

Irrespective of technique, medium, or form, my primary objective with every piece I create is to highlight the beauty in the unconventional. Having trained as an architect, I anchor my practice in ingenuity, adaptability, and an iterative approach to making. Just as a client brief or project proposal can evolve throughout the design process, I embrace the fluid nature of inspiration, allowing new lines of inquiry and innovation to shape the work without losing sight of its overarching concept.

The design principles that once shaped my architectural education have naturally carried over into my artistic practice. What was once mass modelling and prototyping to test scale and spatial relationships has evolved into concept sketching, experimentation, and iteration to explore materiality, refine ideas, and assess conceptual feasibility.