My work draws from multiple disciplines, allowing each piece to emerge through a dialogue between materials, techniques, and ideas. I approach image-making as an evolving process of exploration, where traditional painting intersects with other methods and forms of artmaking. Working across disciplines allows me to continually expand and refine my visual language, resulting in artworks that move constantly between mediums, and are underscored by my pursuit for invention and experimentation. It’s what I call “Hybrid Vigour”, a creative strategy that has enriched my approach and repertoire as an artist. This hybrid approach has become central to my practice, shaping a body of work that is both materially diverse and conceptually driven.
The technique I call Rust Imprint began with an accident. An old pair of pliers, forgotten overnight on the surface of a canvas, left behind a rusted imprint. What first appeared as a mistake soon revealed itself as a gift, something more compelling: the object had had left behind a trace of its presence and transferred a memory of its shape onto the surface.
Rust Imprint is now a technique for image-making that I have developed over several years through experimentation with oxidation and natural chemical reactions on fabric, canvas, and paper. The process has evolved into a distinct form of mark-making and a growing creative vocabulary. By placing metal objects, treated in various oxidizing solutions, onto surfaces such as paper, cloth, or wood, I extract the “memory” of their form. In this way, both time and material transformation become active participants in the work.
Rust functions as both pigment and mark-making agent, as moisture and metal interact to create layered impressions and textures. Rather than fully controlling the outcome, I collaborate with these material processes, guiding the image while allowing the unpredictable “bleeding” of rust to remain visible.
The resulting works exist between painting, printmaking, and process-based drawing, where oxidation becomes both image and record of transformation.
Thread and fabric have been part of my visual language since childhood. My father was a tailor and my mother a keen embroiderer, and through them I was surrounded by the quiet discipline of making—measuring, stitching, repairing, and transforming cloth. This family history has deeply shaped my approach to artmaking and my understanding of how materials can carry memory, tradition, careful labour, and expressiveness.
In my own practice, thread becomes a form of drawing: a visual line that moves across the surface of fabric much like a pencil across paper or a brush across canvas. Through stitching, individual threads intersect, layer, and accumulate, gradually forming an image. The fabric becomes a landscape that the thread inhabits, and the marks it creates suggest the emergence of a new ecosystem—one built slowly through gesture, repetition, and time.
I often combine these processes with found materials—fragments of cloth, lace, and other textiles—integrating them with drawing, painting, and my Rust Imprint technique. These layered processes create a vigorous hybrid image- a palimpsest, where materials interact, transform, and evolve. Within this space of experimentation, the work continues to grow—shaped by time, process, memory and the dialogue between traditional and contemporary image-making.