In the centre of my practice are women.

As they move through time and places I grasp their image to create a space for them to reappear.

Women that I am exceedingly drawn to often share similar traits, they happen to be nomads, lone female venturers, visitants. Again and again, they come as half blurred memories, passers-by from the moment in time. I make them stay; I am building the archive of unforgettable females. 

I make connections. My work has an intermediary power between entities: past and present, photography and painting, materials and subject.

Many of my subjects I came across in archival photos that I collect. They entice me from the past with their glamour, strength, mystery, untold stories, yet often all I am left with is an orphan image reflecting a second of their life, a stage moment. In the time I look at them I recognise collective archetypes and I am inclined to the thought that no matter what generation we follow the same pattern. Therefore it is only natural to me that I make portraits of my contemporaries too, woman that I know in person. Photography informs my painting, both archival photos and recent ones I take myself. My relationship with materials is as personal as it is critical to my practice. I favor time-honored materials and processes such as oils and etching. I trust them to reflect timeless qualities of my subjects. I am captivated by their tactile and olfactory qualities, the physical engagement of making that they require.