My work is primarily large scale paintings, alongside digital processes. I design imagined landscapes influenced by maps, architecture, and systems, using non-human perspectives and layered compositions. These environments are not intended to be inhabited, but to be navigated. Through these environments, I explore paranoia related to technology and invisible systems of power and technology. Systems designed less for people and more for efficiency and profit. I aim to expose these systems that determine how people live. This has become central to my practice as technological paranoia has become a cultural condition.

The work questions the social and political effects of technological advancement, particularly surveillance and control. I’m interested in recurring public anxieties that emerge around new technologies, especially the sense of being observed without fully understanding by whom or how. By analysing utopian and dystopian fiction, I reflect on how their aesthetics communicate the specific technological and political fears of their time. These references inform how I think about space, power, and atmosphere within my own paintings.

I have a long research and careful design process which allows me to be intuitive when I come to painting and making. This helps create a mechanical and processed effect, overpowering the human nature of painting. Painterly marks and interesting adaptations that come with painting therefore seem more like system errors and malfunctions. This process aims to evoke the dominating force of technology.