I approach my work as an exploration of intersubjectivity - acknowledging the interconnectedness and shared subjecthood of all life - and as a relearning of a kincentric ecology that honours the relational bonds among humans and between the human and nonhuman worlds. While avoiding a naïve, simplistic deification of nature, I work from the premise that places and living entities embody sentience and memory, engaging in a site-responsive dialogue with the natural world that infuses the work with a sense of place and history.

In my practice I draw inspiration from the Japanese concepts of kintsugi - repairing broken pottery with lacquer and gold, celebrating the cracks as something beautiful - and wabi-sabi - finding quiet beauty in imperfection and impermanence. Paintings are created with hand-refined site-specific tree and earth pigments from the Cape. Intuitive mark-making and repetitive gestures become a contemplative practice that unfolds as a well-worn, weathered, robust minimalism, built up and reworked layer by layer. The surfaces - patina-like in some works - reveal as much as they obscure, with each layer transmuting pigments into an imperfect wholeness. In this way, artmaking becomes not only an act of witnessing but also a means of participating in the formation of site-specific resonance.

I am interested in the ongoing development of a meditative visual language that documents the silent meeting of subjectivities - among humans, between human and nonhuman, and between artist and subject. This conversation intimates a sense of belonging within a responsive web of life and fosters an enduring yearning to evoke an echo of a larger primordial memory.