Working directly on canvas without a predetermined composition, each painting evolves through accumulated decisions made in real time. Colour, proportion and form are adjusted gradually until the structure of the work resolves.

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I began with figurative painting, but gradually moved towards abstraction. The shift was not a rejection of representation, but a move closer to experience — an interest in presence, attention and the feeling of inhabiting a space rather than simply observing it.

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My background as an actor has influenced this approach. In both practices, the work depends on responsiveness: listening, observing and allowing something to emerge rather than imposing it too quickly.

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I work without a fixed plan. Often I spend longer observing than painting, waiting for the next decision to become clear.

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Geometry provides a framework, but the paintings are not constructed in advance. Their structure develops slowly, layer by layer, through a process of adjustment and response.

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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.