My work explores how colour can reshape how we see and understand familiar subjects. My pet bearded dragon, Rango, functions as a key subject within my paintings. As a reptile, he does not show readable facial expressions, which raises the question of how his presence or feeling can be conveyed without expression, realism, or narrative. I respond by using colour as a substitute for these cues, using bold, unexpected colour relationships to give Rango character. Similarly, my flower paintings allow me to investigate folds and depth through colour, exploring how I can create a sense of depth without using realistic shading. The subject of the flower becomes less about the flower itself and more about the interplay of colour across the surface.

My paintings are informed by the theories of Johannes Itten and Josef Albers, notably their ideas on how colours shift depending on their surroundings. I often begin in black and white to establish tone and structure before then introducing colour. I layer it on top using complementary contrasts to intensify areas, while cooler surrounding hues flatten or push forms back. Franz Marc is particularly significant to my practice for his use of non-naturalistic colour to convey presence over realism. As he states, ‘today we are searching for things behind the appearance of things’ (Marc, 1910), aligning with my aim to encourage viewers to look deeper and think beyond what they first see.