Through my multidisciplinary practice, I have come to understand that I am continually reflecting one central philosophy: Mother Expressionism.

This philosophy draws on many sources: Heraclitus’s vision of reality as perpetual flux, Jung’s process of individuation, the mystical traditions that emphasize surrender, and the intrinsic wisdom of the natural world itself. At its core, Mother Expressionism is an embodied philosophy which seeks to restore the feminine as a force of creation, dissolution, and an agent of cultivation.

 

In painting, skin, bark, yonic forms, flowers, and landscape exist as one living field, unfolding in perpetual motion. Embracing elemental beauty over perfection, honouring the raw intelligence beneath the form rather than the flattened, consumable image of the feminine. People exist as trees, uniquely shaped and perfectly imperfect.  

I see my canvas as an energetic mirror, an inner landscape, both an expression and invocation of transformation. I am fascinated by dichotomies within moments of transmutation, where seemingly opposing emotions exist simultaneously. I veil successive passages of paint to hold multiple states of consciousness, creating possibilities that interact with and activate the viewer’s own consciousness. Water recurs throughout my practice as a symbol of surrender and metaphysical unity. All forms arise and return to the sea, moving through continual states of becoming.

 

I work through a process of constructive figuration, beginning with photographic references to the body and natural forms, progressively building, dissolving and vitalising the image through paint . Fully resolved shapes often seem to obstruct the movement or energy of a painting, so I partially dissolve them using white spirit. Abstraction invites the viewer’s imagination to complete what has been left unresolved. For my colour pallet, I draw inspiration from religious architecture and iconography, seeking a harmonious but otherworldly array of tones. Each painting develops according to its own internal logic, which means no two are conceived in the same way.

 

Through engaging with expressions of the feminine, painting has become an act of weeding and cultivating my inner garden. Whether goddess, widow, witch, or temptress, female independence is so often bound up with forces that must be feared, controlled, or demonized. Investigating this fear, shame, and tension is an enduring thread in my practice. I am seeking to depict fully encompassing expressions of the feminine power. My paintings do not simply try to depict women, but to restore a balance.