She/her
Moments tells the narrative of my lived experience through the portrayal of oil painted snippets into my personal memories from my time in Japan. The aesthetics of this series consists of dreamlike realist landscapes and still lifes consisting of both serene and melancholic colours. My concept stems from the fleeting moment to describe the impermanence in my emotions, experiences, and relationships; through the process of painting, I create new timeless moments with colours dependent on these factors. Influenced by personal nostalgia and existential dislocation, my paintings exist in a metaphysical location, picking up moments which I do not want to leave behind, whilst also reflecting a dream state disconnected from reality.
My process consists of painting from photography from moments I have experienced. I first select my photography and edit its values to become dreamlike. From creating my working reference, I select a spirit diluted under-painting, consisting of either yellow ochre, Indian red, ultramarine blue, or sap green. Influenced from these coloured grounds and personal photographic references, I transform my memories into new, scenic, and nostalgic locations. Each painting holds an individual value within the unique moments which I choose to paint. I paint simple non-location-specific moments, like a close-up of a flower or streetlamp, whilst also painting location-specific moments recognisable to Japan. Throughout the series, I include figures from personal relationships and friendships, with each connection reminding me of our memories together. Each painting has the same dimensions, with each moment being equally impermanent.
My painting method pinpoints focused and unfocused elements, including distortion of backgrounds and refinement of foregrounds. I use a variety of paintbrushes from fine and synthetic brushes to large and bristly brushes to form different mark making techniques on my chosen surface of wooden panels. I use thicker oil paint application towards the foreground of my paintings with precision in application; the backgrounds consist of looser brushstrokes followed by the dragging, scratching, and blurring of oil paint. This painting method blurs the lines between realism and abstraction, reflecting my feelings of dislocation from place and reality.
The last step in my process is the application of dammar varnish. Dammar can create the illusion of a photograph due to its high gloss surface. The paintings exist as an inaccurate duplication of initial photography, creating a nostalgic effect in the works. When ordering composition of my paintings, they lie in a timeline like order, with this order being contradictory to each moment existing in a fragmented, non-chronological order.
From 2024 – 2025, I worked on my Inverted Colours series. The series was about recalling moments that I felt a connection to. I was inspired by concepts of the fleeting moment along with the impermanence of the present moment. The works consist of an inverted coloured palette, presenting the distance between the past and the present as time goes on.
LSA 2026 Annual Exhibition, Leicester Museum and Art Gallery
Shortlisted for the LSA awards. Exhibited oil paintings from my Inverted Colours series in the annual LSA exhibition.
“Memory 思い出 Muistot 记忆” 2025 Group Exhibition, Gallery Kunitachi, Tokyo
I exhibited paintings from my Inverted Colours series. My paintings had an interactive element in which viewers could invert the colours in the paintings using technology.
Group Exhibition “Painted Signals” 2025, QT Mongo Ookayama, Tokyo
Works exhibited:
Omoide 1 (2025) Oil on canvas
Aitai (2025) Coloured pencil on paper
Burn before Bloom (2025) Coloured pencil on paper
Burn (2025) Oil on canvas
Blur (2025) Oil on canvas
Joshibi Festival 2025, Joshibi University of Art and Design, Kanagawa
Work exhibited: Tsunagari (2025) crochet installation.
