To stand before a painting and receive time. That possibility sits at the heart of my practice. Botanical inks, pigments, cyanotype and other reactive materials record their own histories through staining, erosion, crystallisation and accumulation. The work begins with process, but it is ultimately concerned with what remains. Pressure leaves traces. Materials remember. Surfaces become records of events that have taken place. Rather than depicting a subject, I am interested in the forces that shape it. Pressure, weathering, erosion, accumulation and time become visible through the behaviour of materials. Fragments, stains, sediments and shifting edges become evidence of transformation, holding both presence and disappearance within the same surface. My background in typography and design continues to inform the structure of the work. Material processes generate possibilities, but each piece is resolved through observation, selection and refinement. Recent bodies of work, including Residual, Subduction, Dancing Satyr and Primordial Origins, explore material memory, geological time and the traces left by experience. Across the work runs a fascination with what is held within colour and materials, and what remains after transformation has taken place. Fragments, residues and altered surfaces carry evidence of change, holding traces of both geological and human experience. The paintings invite a slower encounter — a moment of stillness in which colour, surface and material might reveal what they hold. What remains after transformation? What is held within colour and materials? These questions continue to guide the work.