My paintings show uncultivated, perfectly preserved landscapes. Surface texture is an important aspect of my work, for example having sections of matt emulsion paint next to acrylic coated with varnish gives a contrast which creates an other worldly luminescence.

I use images of deep, dark forests and vast mountain vistas to create a fairytale element, in order to evoke the vibrancy, possibilities and intrigue which are synonymous with the natural settings in fantasy stories. My ecological concerns, the strain that the ever increasing population is putting upon the Earth, amongst others, have also played a part in my desire to make idyllic images of landscapes; meshing fairytale ideals with my dubious hopes of an environmentally Utopian future.

There is a sense of balance in fairytales, and also in nature. I try to reflect this visually in my art through the use of subtle symmetry and framing devices. I have begun to think of my work in terms of a backdrop for an imaginary voyage. That the images are seemingly void of activity is important, allowing room for the viewer to create their own narrative.

Making this kind of work is a form of escapism for me. Although I don’t believe that nature can ever be replicated in all its intricacy and intensity in art works, I want to convey something of its power and majesty, to pay homage to the Romantic landscape artists of the eighteenth century and what they experienced before the sublimity of the natural world.

During my research, I have drawn inspiration from the traditional Chinese art form Shan Shui; a way of painting that celebrates the link between the spiritual and natural worlds, with particular emphasis on mountains and water.