This is my art practice, I take in the world, visually, conceptually, physically, psychologically. I see, feel, think, read, reflect—spin, diverge, and converge until I make something. Something that is never quite there, quite right, quite finished. That is as good as it gets.

The questions that keep me up at night—why are humans and other species obsessed with outer appearances and beauty? What is human consciousness? How do unseen things like atomic and subatomic particles affect our visual reality? What lies beneath or beyond outer appearances? What realities do we assume? Are there alternate realities? What are the possibilities for making some sense of the world and my own experiences in it through art making?

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Research interests are always fluid for me. Past explorations include human sexuality and relationships between organic and inorganic bodies; layering and enfolding themes of sexual identity, the body, materials, and colour as a way to evoke questions of what it means to be a human in the universe at this time. The evocative qualities of light-emitting fluorescent plexiglass were considered as a material body alongside the material human body to negotiate the meaning of relationships between all bodies, human and non-human. My work is informed by the colour theories of Wittgenstein, Albers, and Itten, and shaped by the perceptual and aesthetic research of James Turrell and David Batchelor. I’m particularly interested in how colour and light function psychologically and emotionally—how they activate space and create visceral, bodily experiences for the viewer. In these works, colour moves, pulses, and interacts with the viewer and the environment—a kind of optical choreography that evokes both intimacy and intensity.

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My current art practice explores how to fully harness the high-chroma, transparent, and light-emitting qualities of plexiglass, especially fluorescent acrylics, and present them in ways that are engaging. The process is intensive and meticulous: it begins with decisions around scale and colour palette, followed by digital vector designs for laser-cutting. Once cut, the thousands of plexi strips or waves are peeled, sorted, and arranged. Using wooden jigs and clear acrylic medium, I construct modular sections that are ultimately composed into large wall-based works on clear plexiglass panels.

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