About the artist

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I am a London-based painter, and my practice navigates the shifting boundaries between the digital and the physical. I hold a BSc in Anthropology from UCL and an MFA in Painting from the Slade School of Fine Art (2023), where I graduated with distinction.

In 2025, I was awarded the ACS Studio Prize, and in 2024, I was selected for New Contemporaries and shortlisted for the Ingram Prize. My work has been shown internationally in London, New York, Miami, Mexico City, and Basel. My paintings are held in private collections as well as by the Museum Inima de Paula in Brazil.

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My practice draws on a wide range of influences, including Surrealism, Pop Art, Cubism, and Neoclassicism. Using imagination and humour, I reimagine myself and others through paint, creating images that sit between internal worlds and subconscious invention, between utopia and dystopia. These constructed worlds sit somewhere between dream and nightmare, inhabited by futuristic, ambiguous figures. I deconstruct the body into simplified, often gender-neutral forms. Detached from specific time or place, these ambiguous characters inhabit bold, saturated landscapes, merging with geometric structures and surreal, fairytale-like motifs.

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I regularly shift between digital and physical processes, building 3D models and digital illustrations to develop compositions. Moving between screen and canvas creates a dialogue where each medium informs the other. Working digitally allows me to explore unusual viewpoints - sometimes positioning the viewer in unfamiliar perspectives, creating constructed spaces that feel both tangible and uncanny.

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I’m drawn to oil painting as an ancient, tactile medium - both for its physical slipperiness and its historical association with illusion and deception, particularly through techniques like trompe-l'œil. Much like oil paint’s ability to create convincing illusions on a flat surface, digital modelling fabricates a sense of reality on a glowing screen.

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I think of my practice as a form of fictional world-building, where the canvas becomes a stage for three-dimensional forms interrupted by two-dimensional, discontinuous elements (see ‘Bathers’ (2024)  which combines metallic heads and flat, sometimes translucent raindrops). By assembling these imagined motifs I search for connections to something more symbolic or emotionally resonant.

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Utopian images of dystopian ruins - a space of chambers, trapdoors, and shifting terrains. My paintings present a vision of a utopia (or perhaps a dystopia?), populated by futuristic models. I draw on imagination and humour to reimagine myself and others through paint, creating scenes that exist in a liminal space - not quite external, but rooted in the subconscious. Rather than straightforward depictions of appearance, my work explores interiority and invention. The body becomes deconstructed into simplified, ambiguous forms, often gender-neutral; stripped of specificity, my subjects feel untethered to time or place. Rendered in bold, saturated colours, these voluminous anthropomorphic bodies intermingle with geometric shapes and undulating landscapes, populated by fairytale creatures and strange, object-like motifs.

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I bring my imagery together into the digital realm using digital programming illustrators. I then morph these elements into new compositions and subsequently translate them onto the pictorial surface. Once the canvas is evolving, I often further develop the rendering, going back and forth between digital and analogue media, each informing the other in an ever-evolving exchange of inspiration. This process is eventually concluded onto the canvas in oil paint.

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I use three-dimensional modelling as a formal tool to create distance - to feel like a character in someone else’s life. I’m interested in that third-person perspective, in the sensation of watching from elsewhere. In ‘Twilight Dew’ (2025), for example, the viewer looks up at the figure from below, adopting an ant’s-eye view of the scene. This approach opens up a world within the canvas, a constructed space where the characters carry tangible weight and form - present, yet elusive.

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Much like writing fiction, I arrange imaginary motifs from abstract space in the hope they might resonate with some version of reality or truth. Visual culture today is flattened, remixed, and repeated endlessly. Rather than resisting these tropes, I embrace them. My paintings reflect this screen-like encounter - using hyper-saturated colour, juxtaposing flat planes with volumetric forms, blending depth with artifice. The world feels increasingly flattening and compressed; my paintings mirror that.

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Human connection is central to my work. I often depict two figures joined or touching, yet seemingly indifferent to one another - absorbed in their own internal worlds, connected yet disconnected.

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My internal world often feels artificial - simultaneously truthful and fictional. Disconnection, fragmentation, and disintegration are recurring concerns. Some figures resemble balloons or inflatable shells, more air than flesh, their surfaces suggesting materials like plastic or metal. These chimera-like forms embody pure exteriority; they often return the viewer’s gaze, fully aware of their constructed, artificial nature. I’m especially drawn to shiny metallic surfaces for their associations with artificiality, decadence, and spectacle. In recent works, even natural elements like flowers or dirt appear fabricated from synthetic materials - as in ‘Earthly Delight II’ (2025) - transforming organic forms into consumable, almost edible artefacts.

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