There is a particular moment — somewhere between waking and full consciousness — where images arrive fully formed. A figure suspended mid-air. A landscape folded back on itself. Light behaving the way it only does in dreams. These are the moments my paintings begin.
My work sits in a space I think of as dreamlike realism: subjects rendered with careful attention to light, texture, and form, but placed within scenes that operate by their own internal logic rather than the rules of the waking world. Surrealism, at its best, doesn't feel strange — it feels true in a way that ordinary representation cannot.
From Vision to Canvas
Every painting starts with a fragment — a feeling, an image, sometimes just a quality of light I want to chase. I sketch loosely, not to capture the final composition but to stay close to the original feeling before it fades. The sketch is a net, not a blueprint.
From there I move to canvas. I work in oils, building from dark to light in thin, layered glazes. The process is slow by intention — each layer must dry fully before the next can begin, which means a single painting might span weeks or months. That time is part of the work. It allows something to accumulate that quicker methods don't permit.
The Role of the Unconscious
I don't plan my paintings the way an architect plans a building. The composition evolves. Elements appear that I hadn't intended and stay because they feel right. I've come to trust that process — to let the painting tell me what it needs, rather than imposing a fixed vision on it.
This is where surrealism becomes not just an aesthetic but a genuine method. By staying open to the unexpected, the work reaches toward something deeper than deliberate design can access.
Each Original Is Unrepeatable
Because the work emerges through this layered, intuitive process, no two originals are alike — not even when they share a subject or palette. The particular sequence of decisions, the specific light on a particular afternoon, the mood of the session: all of these are embedded in the paint. You can see it when you stand close to an original. The surface holds a record of its own making.
Browse the Originals collection to see current available works, each one a unique object that exists nowhere else.
For those drawn to the imagery but working within a different context, fine art prints are produced with the same exacting attention to colour fidelity and archival quality — a different object, but a genuine one.