A glimpse into my postgraduate research and experimental work.​ Follow the ideas, installations and projects evolving during my MA Fine Art at the University of Brighton.

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In 2024, I began my MA Fine Art at Brighton University to provide the space to pause, reflect, and reshape my creative practice. I found myself asking big questions: Why do I paint what I paint? Why flowers, why vases? And what happens when I give room to the many creative voices I’d kept hidden?

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For years, I was primarily known for my semi-abstract still-life paintings - flowers in vases exploring memory, light, and emotion. But beneath the surface, I had quietly developed other creative identities that hadn’t yet been given space to breathe. The MA has provided that room.

The first year has been a journey of exploration, conversations, and risk-taking. I started to see my work as a whole - not just the paintings, but the threads of memory, identity, and storytelling woven through everything I create.

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I spent time looking back over my work from the years - creating a photo book that documented the subtle connections between my past paintings and the images that had subconsciously inspired them.

 

Alongside this, I physically burned and sanded back layers of paintings, revealing excavated marks and memories beneath the surface. These peeled-back layers, born of hours of patient work, were exhibited in my interim show in February, offering viewers a glimpse into the hidden processes and histories embedded in my practice.

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The Booth marked the start of something bigger - an invitation to keep expanding my creative language. Next term, I plan to push beyond painting and deepen my work across different departments at the uni. I’ll be spending time in the photography studio, developing larger, more ambitious works under Elle Be, using screen printing and working with a model to explore layers of identity and selfhood in new ways.

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I’m also drawn to tactile and material experimentation: weaving on the looms to explore textiles as holders of memory, and working with blown glass in a private studio to develop sculptural forms that echo and expand on my ceramic vessels. These explorations feel like natural extensions of my practice - different voices and media, but all part of the same conversation about light, memory, and emotional resonance.

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Each of these experiments feeds directly back into my core painting practice, enriching it with new textures, ideas, and cross-disciplinary energy. The floral works remain at the heart of what I do, but these explorations allow me to expand their language - to think bigger, work bolder, and create pieces that speak on multiple levels. Over the next year, my goal is to bring this expanded practice to a wider audience - through exhibitions, collaborations, and by connecting with galleries and collectors with work that is both contemporary and deeply personal.