My route into painting began in a long career as an actor.

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In acting, you work in the moment — listening, responding, allowing something to unfold rather than imposing it. I came to recognise I was approaching painting in the same way.

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I began with figurative work, but gradually moved towards abstraction. The shift wasn’t a rejection of representation, but a move closer to experience. In acting, what matters is not what something looks like, but what it feels like to be inside it. Painting became a way of exploring that directly.

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I work without a fixed plan. Each painting develops through a process of looking, adjusting and responding. Often I spend longer observing than painting, waiting for the next decision to emerge.

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The structure emerges slowly, layer by layer, through a series of small, intuitive choices. Geometry provides a framework, but the work is not constructed in advance — it is discovered.

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Working from a Cambridge studio, I produce a limited number of paintings each year, allowing each piece the time it needs to fully resolve.