One idea I return to often in superposition – the notion that a particle exists in multiple contradictory states at once, until it’s observed. An abstract painting works the same way: it holds multiple possible readings simultaneously, and only settles into one the moment someone stands in front of it and looks.

I think of form and colour as carrying meaning beyond the purely visual. A shape like the ellipse describes a cell as readily as a planet’s orbit: colour and light shift mood and attention before the mind has a chance to interpret them. Working this way lets a single painting hold several readings at once – physical/material, cosmological, psychological – and treats colour as a kind of information the body receives directly.

My process is slow and exploratory rather than planned. A piece often changes direction well after it’s begun – colours reworked, textures built up slowly, layer by layer, forms reconfigured – until something settles that aI couldn’t have planned for at the start. It’s closer to discovery than to design: I’m finding the work as much as making it.

I will often return to painters who treated abstraction as more than a formal problem – Rothko, whose fields of colour were built to be felt in the body before they’re understood by the mind: Hilma Af Klint, whose work was explicitly metaphysical made as channelled communication from another plane; and Bridget Riley, whose precise edges turn looking itself into a physical, almost vertiginous experience.

That same attention to how colour and form move through a person runs into another discipline I practice – years of close hands-on study of the body’s energetic systems. It shapes how I build a painting’s surface – it’s weight, its temperature, where it opens and where it holds tension.

Sound has entered the work recently through harmonic toning – a vocal technique with a long history across cultures – used as the audio layer in video installations. It extends the same inquiry into a different sense.

Each piece is a threshold – an invitation to enter and create a personal dialogue with the work.