​​I am a London-based painter whose practice explores intimacy, desire, and identity through allegorical figuration. My paintings combine digitally mediated imagery with the material language of oil paint, using symbolic environments and staged bodily encounters to explore contemporary experiences of intimacy, alienation, and emotional performance. Drawing on contemporary visual culture alongside historical traditions of allegory and devotional painting, my work investigates the shifting boundaries between self and other. 

I hold a BSc in Anthropology from UCL and an MFA in Painting from the Slade School of Fine Art (2023), graduating with distinction.

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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, from the symbolic language of Renaissance and Baroque painting to the psychological distortions of Surrealism and the seductive artificiality of contemporary visual culture. I am particularly interested in historical traditions of allegory, where complex emotional and moral states are translated into symbolic narratives. These influences inform my exploration of intimacy, desire, dependency, and the unstable boundaries between self and other.

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Using imagination and symbolism, I create paintings that occupy a space between dream and psychological fiction. Through staged encounters between paired figures, I construct emotionally charged scenes in which tenderness and unease, affection and possession, coexist. The figures often appear suspended within artificial, candy-coloured environments. These settings function as contemporary allegorical spaces, where emotional relationships unfold through ambiguous bodily gestures and shifting power dynamics.

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I regularly move between digital and physical processes, using 3D modelling and digital image-making to develop compositions before translating them into paint. This movement between screen and canvas creates a dialogue in which each medium informs the other. Digital tools allow me to construct psychologically charged spaces and choreograph relationships between figures, generating environments that feel simultaneously familiar, theatrical, and uncanny.

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I am drawn to oil painting not only for its material richness but also for its historical associations with flesh, devotion, and illusion. The medium introduces a physical vulnerability that transforms smooth digital imagery into something slower, heavier, and more emotionally complex. Through visible traces of touch and painterly surface, oil paint intensifies the tension between artificial sweetness and bodily presence that runs throughout the work.

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I think of my practice as a form of contemporary allegorical world-building, where symbolic motifs, constructed environments, and psychologically entangled figures come together to create open-ended emotional narratives. By combining historical references with digitally mediated imagery, I seek to build fictional worlds that explore the contradictions of contemporary intimacy, allowing desire, tenderness, anxiety, and transformation to coexist within the same pictorial space.