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Oil on canvas
155 x 135 x 4 cm
2024
My paintings begin with the landscape, but they are ultimately concerned with atmosphere, light, and the mechanics of perception, and with the sense of awe and transcendence I experience within the natural world. I am drawn to wild, uncultivated spaces, moor, marsh, mountain, and shorelines, where weather dissolves the boundary between sky and earth.
Growing up in Scotland, facing the Irish Sea, instilled in me a deep reverence for the natural world. Standing in these windswept spaces beneath vast, heavy skies, I experience a profound stillness and sense of personal insignificance. My work attempts to hold the feeling of that encounter within the act of painting itself.
My process begins on location with immediate watercolour or oil sketches, capturing a still point, fleeting moments where land appears and disappears through mist, rain, and shifting weather. In the studio, these studies expand and, filtered through memory and formal reduction, hover between representation and abstraction.
I am less interested in describing topography than in painting the air around it, the hushed luminosity and radiance between darker forms. I use landscape as a vehicle for feeling, pursuing a sense of sublime immanence rooted not beyond the world, but deeply within it.
Oil on canvas
155 x 135 x 4 cm
2024
My paintings begin with the landscape, but they are ultimately concerned with atmosphere, light, and the mechanics of perception, and with the sense of awe and transcendence I experience within the natural world. I am drawn to wild, uncultivated spaces, moor, marsh, mountain, and shorelines, where weather dissolves the boundary between sky and earth.
Growing up in Scotland, facing the Irish Sea, instilled in me a deep reverence for the natural world. Standing in these windswept spaces beneath vast, heavy skies, I experience a profound stillness and sense of personal insignificance. My work attempts to hold the feeling of that encounter within the act of painting itself.
My process begins on location with immediate watercolour or oil sketches, capturing a still point, fleeting moments where land appears and disappears through mist, rain, and shifting weather. In the studio, these studies expand and, filtered through memory and formal reduction, hover between representation and abstraction.
I am less interested in describing topography than in painting the air around it, the hushed luminosity and radiance between darker forms. I use landscape as a vehicle for feeling, pursuing a sense of sublime immanence rooted not beyond the world, but deeply within it.