I create paintings through performance in both public and private settings, often in collaboration with musicians and artists from other disciplines who focus primarily on improvisation. As a performance painter, my work is rooted in research into the physical and metaphorical relationships between sound and drawing. I explore how one mode of perception can be translated into another through gesture, metaphor and visual form, examining tensions between spontaneity and risk, failure, the unfinished and resolution. I’m particularly interested in what gestures and mark-making can capture and reveal about the mind-body connection.

My practice navigates processes that draw from memory, dreams, imagination and the tracing of affects, gestures and objects, whether abstract or concrete. I reflect on internal landscapes, in relation to the external world and to the stories connected to the places, histories, and body I inhabit.

For this triptych, I painted in response to improvised clarinet and electronics performed live by John Huw Davies. Together, we explored painting and music as embodied, entangled movement, focusing on communication and transitivity across different modes of perception. We performed for one hour and twenty minutes with an audience in a photography studio at the Royal College of Art. Documentation of my performances often reveals a spontaneous symmetry of gesture, form and colour emerging without conscious intention. These works have led me to a deeper understanding of embodied intelligence, somatic memory and automatic gestural forms.

My practice draws from a range of disciplines, including the Meisner acting technique, which sharpens instinctive, responses; Contact Improvisation, which heightens attunement to balance, gravity and relational movement and Jungian Active Imagination, a method of exploring the unconscious through symbols and archetypes. I often paint with my eyes closed or blindfolded as a means to forget past conformities, enable an uninhibitedness and to tune me into a somatic way of seeing.

For this performance, I worked with dream imagery of seascapes, bridges, circular forms, collapsing and rebuilding towers, which informed a series of triolet poems processed through software that randomised the lines, generating a charged atmosphere from which both my paintings and sonic work emerged.

As I reflect on the evolving nature of painting in the digital era, I see painting as a form of resistance to computational logic and technological bias, and as a way of exploring what remains irreducibly human within increasingly automated systems. I am interested in material vibrancy, ecology and politics, and in how we interpret and make sense of what we perceive and observe. Questions of predetermination, coding and glitches recur through my work, particularly in relation to the creative process, transformation and the possibility of moving beyond prescribed neurological, material and habitual patterns in order to generate new visual languages. As a woman artist working alongside powerful new technologies, I see the creation of new languages, structures and systems as being urgent - because the traditional art historical canon has only told a small part of the story of humanity.