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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, ranging from the imaginative distortions of Surrealism and the bold visual language of Pop Art, to the fractured perspectives of Cubism and the disciplined clarity of Neoclassicism. I am also deeply inspired by the drama, symbolism, and technical mastery of Renaissance and Baroque painting, where these periods ambitiously explore illusion, theatricality, and the re-shaping of reality.

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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.

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.

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. By assembling these imagined motifs, I search for connections to something more symbolic or emotionally resonant, bridging the past and the future, the real and the invented.