I am currently working on two bodies of work, studying emotions through the human form and nature. The first body of work was born from two things arriving at the same time: becoming a mother, and living through a worldwide tragedy. These were not subjects I had studied from books or approached as artistic themes from a distance. I lived them. That is why these works carry the character of a diary, not a diary of observations, but of experiences that changed the shape of my life and, with it, the shape of my practice. It was through this period that I moved from experimental studies into serious figurative and portrait work for the first time, a direction I had never consciously pursued before, but which arrived as the only honest response to what I was living through. The crosshatching became the ultimate breaking free from the fears that had been holding me down. I work on hardwood panel, whose uneven grain and natural stains become part of the emotional surface, considered in the composition from the very first mark. Each layered mark represents a count of time, as in The Longest Minute and What Held and What Calls, or a count of surrounding elements, like noise, in Happy Birthday. The intersection of the multiple coloured lines aims to express the feeling of the figure within the drawing, connecting with the viewer’s own past, present or future, so the work becomes no longer purely personal, but an experience the viewer is drawn into.

The second body of work consists of small studies of nature, mostly flowers, breaking the usual distance between the observer and the object, connecting a close-up form with a certain feeling, memory or emotion, through dense, intense coloured hatching.​