​In my art I investigate the concept of worldmaking—whether natural, virtual, or personal. I am interested in how humans inhabit and construct worlds, and in the layered nature of these worlds as repositories of history, memory, emotion, and experience.

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Each day, I register more acutely the shifting dynamics of the natural world. Floods, fires, and erratic weather patterns have become a new evolutionary constant. Spring begins earlier each year, midsummer is disrupted by cold fronts, and droughts give way to sudden floods. ​​​​​​​​​​My works trace cycles of loss and renewal, grief and transformation, silence and sound. They suggest that even amid technological entanglement and ecological crisis, we remain capable of imagining, creating, and reinventing our worlds. Utopian imaginings and their counterpoints of dystopia and heterotopia are often central part of my conceptualisation.

I am recognised for producing textured, layered palimpsests that address questions of place, temporality, and memory. My approach is interdisciplinary and intermedial, incorporating painting, ink, mixed media, collage, digital print, video, and sound. Colour operates as a conceptual device: emerald green signifies idealised spaces (both natural and virtual), while red invokes the body, fire, and transformation. Additional chromatic references—ash grey, sky blue, stone black, sulphur yellow, smoky white, silver, and gold—speak to alchemical cycles of renewal and processes of transmutation. Works are often organised as sets, triptychs, or mirrored compositions, reinforcing notions of recurrence and transformation.​​​