My journey into painting did not begin in an art school. For nearly two decades, I worked as a marine engineer, spending much of my professional life surrounded by machinery, steel, engines, structures and the constantly changing environment of the sea.That experience continues to influence the way I see and construct an image.
I am drawn to structure, rhythm, fragments, balance and the tension between order and disruption. In my paintings, forms are often reduced, rearranged and layered until they no longer describe a specific object or place, but retain something of its memory.
My transition from marine engineering to visual art was not a sudden departure from my earlier life. Instead, the two experiences gradually began to intersect. The visual language of machinery, industrial spaces, architecture and the sea became part of a broader exploration of memory and perception.
Today, I work primarily through abstraction, allowing colour, geometry, texture and fragmented forms to build spaces that are suggestive rather than literal.I am interested in what remains after a place, an experience or a memory has disappeared—the fragments that stay with us and continue to change over time.
My practice is an ongoing attempt to translate those fragments into visual form.