“Photography has always accompanied my painting practice—the dark horse that rides quietly in the distance, perhaps leading the way. I find myself making photos that are like paintings and paintings that feel photographic. There’s an interesting dialogue between the two, and they help propel each other forward.

I’ve recently become obsessed with the film soup series, a process that balances unpredictable, chaotic elements with some level of control. A film soup involves soaking film in various chemicals and household ingredients to alter the image, introducing distortions and textures. Through trial and error, I’ve learned that less is more—simple combinations like boiling water with salt or a splash of vinegar yield the best results.

More recently, I’ve started working with semi-transparent sheets of acrylic, applying liquids, paint, milk, turmeric, or honey to create abstract surfaces that filter and refract light. It’s a kind of analogue Photoshop, adding a human touch and blurring the line between painting and photography even further. Throughout this process, I’ve embraced chance and impulse as an ethos, allowing colour and materiality to guide the works organically.”