My creative practice encompasses drawing, painting, photography, collage, ceramic, glass applique, printmaking and textiles.
In 2011 I started to experiment with acrylics and to develop the painting technique that I have been refining for the last seven years.
I now paint mainly with acrylics and palette knives on canvas, creating highly textured and subtly three-dimensional abstract paintings that bridge my inner world with the outer. I am interested in exploring the endless potential of texture and colour as expressive devices that allow me to translate raw emotional material and spiritual experiences into fine abstraction, using a visual language that transcends any recognisable narrative.
The sacredness of Nature and Her cycles is a strong thematic thread in my work. My interest in philosophy, spiritual ecology, herbalism, ritual and esotericism informs the concepts and materials I choose to work with. Often foraged medicinal herbs, essential oils, resins and natural materials are incorporated as symbolic and energetic reference to the process. Painting is- and has always been for me- a therapeutic process, one that I passionately share with others through consultancy and education programmes.
Every time I stand ready before a blank canvas, I feel equally powerful and vulnerable.
Vulnerability is a very productive state for me as an artist, and each new painting is an ordinary act of courage. When I start working on a new piece, I never know where the journey will take me and how long it will last. Sometimes I am taken by surprise to places deep within me which I did not intend to visit, and that can be a long challenging process to stay with.
Technically speaking, I usually mix colours for the scheme undiluted. I then apply the first layers of paint straight on to the primed canvas with knives, through bold vigorous strokes. As texture starts to build up and the experience to unfold, the movements become gradually slower and more mindful, the marks more precise. It is an intuitive process of allowing something to emerge, while balancing technical precision with spontaneity and calculated risk for aesthetic effect.
As the polarities meet and merge on my canvas, each piece becomes a dance of creation between masculine and feminine: from the excitement and boldness of the first knives’ strokes to the delicate intricacy of the last touches before completion.