Through large scale abstract painting, I attempt to connect ancient art practices and our changing geographical landscapes as a way to address our collective histories, mutual fragility, and mortality with other living beings and the Earth. I draw from elements of ecology, palaeontology, politics, mysticism and the occult and make use of specific materials (including plant and vegetable matter, hair, animal ashes, sand, dirt, and raw pigments) for their physical properties and symbolic relevance. I use my physical body, in particular my hands and nails to apply these materials onto canvas. My gestures attempt to draw connections to all human and non-human animals in order to unpack our similarities. I aim for inclusivity in my art by alluding to physical bodies through scale.

My practice focuses on creating large works that are approximately the ‘wingspan’ of a human animal. At times these marks are reminiscent of non-human animals clawing or digging. The traces left by my body act as a kind of symbolic mapping of a relatable body, and invite viewers to consider their own physical engagement with our landscape and other animals. I combine colours that create moments of visual uneasiness to encourage the viewer to have a corporeal relationship with my body and my actions. These gestures explore how geographical landscapes are changing in the epoch of the Anthropocene, a new destructive environmental period thought to be caused by human impact on the natural environment.