My practice is grounded in a philosophy of place, where landscape is not a passive backdrop but an active partner in the making of art. I work with natural materials gathered directly from the environments I inhabit—bark, leaves, resins, lichens, and fungi—transforming them into inks through processes of extraction, soaking, grinding, and time.

These inks are not simply tools; they are extensions of the land itself. Each carries the colour, chemistry, and temporality of its origin—shaped by weather, season, and ecological conditions. In this way, my work becomes a translation of place into mark, where material and meaning are inseparable.

The act of gathering introduces a necessary tension between care and intervention. Harvesting pigment from living systems asks me to consider my role within the ecology I engage with. I approach this process with attentiveness and respect, seeking a balance between taking and sustaining, and understanding ink-making as a form of collaboration rather than extraction alone.

My practice moves between the expansive and the intimate. Broad landscapes—shifting light, distant horizons, and atmospheric colour—inform the tonal language of the work, while close observation of surfaces such as bark, resin flows, and lichen structures reveals intricate patterns that echo these larger forms. This interplay between micro and macro reflects a continuity within the natural world, where the smallest details mirror the wider landscape.

Time is embedded in every stage of the work. The slow growth of lichen, the fleeting emergence of fungi, the weathering of wood, and the cyclical rhythms of light and season all contribute to the material and conceptual foundation of the inks. Each mark made with them becomes a record of these layered temporalities.

Through this practice, I seek to create works that are not representations of place, but manifestations of it—where the land is present not only as subject, but as substance.