My practice moves between landscape painting and digital abstraction, two seemingly different approaches united by a deep concern with material, process and chance. In my landscapes, I work experimentally with watercolour and acrylic, embracing flow, unpredictability, and the interaction of the two distinct water-based media to evoke the atmosphere of place. The paintings emerge from a dialogue with pigment, paper, and water, where chance often leads to unexpected resonance.
I explore the landscape in its many forms—urban, rural, coastal, and wild—drawn to the ways it evolves over time through seasonal shifts, human intervention, climate change, and nature’s own resilience. Collage is central to this practice: I use hand-prepared papers to expand the textural possibilities of water-based media, manipulating surface absorbency to test the unique behaviours of watercolour. By layering watercolour and acrylic, I push the boundaries of traditional technique to create richly textured works.
Alongside this, my digital generative artworks—created by writing computer programs that generate images—represent a contrasting yet complementary exploration of form and process. Drawing on my background in programming and a Master’s degree in mathematics, I use algorithms and generative structures as my media. As with paint, I embrace unpredictability within these systems, allowing patterns to unfold in surprising and sometimes lyrical ways.
Across both practices, I am drawn to the transformative possibilities of process—whether physical or computational—and to the emotional response it can provoke. My aim is to create work that uplifts, whether through the familiar contours of a landscape or the imagined geometries of abstraction.
I have exhibited with the Royal Academy Summer Exhibition, Royal Watercolour Society Contemporary Watercolour Competition, the Royal Institute of Painters in Water Colour, the Discerning Eye, and the Sunday Times Watercolour Competition, where Pendeen Clifftop was described by the Making a Mark blog as one of the top ten works of 2019. In addition to my studio practice, I co-founded and organised the Reading Gaol Hug, which brought 1,000 people together as part of the Save Reading Gaol campaign, and co-authored Reading’s Influential Women (Two Rivers Press, 2020).
Elected an Associate of the Royal Watercolour Society in 2021 and a full member in 2024, my work has been featured in The Artist magazine (2021), Watercolor Artist (2022, US), and several books.
“an innovative, non-traditional approach that focuses on texture”
