I have never felt the need to tie myself to a single style of art. Life is not a photocopy of the day before: colours shift, circumstances change, and we change with them. My art follows that movement, allowing me to explore different materials, subjects and ways of seeing.

Mixed-media collage has become central to my practice, bringing with it an increasingly provocative and subversive intent. I bring classical imagery into a contemporary world of torn paper, layered textures, bold colour and expressive brushwork. By disrupting familiar images, I seek to unsettle the assumptions that surround them. Some works are deliberately disquieting; others use humour, irreverence or an audacious visual intervention to question what we admire, what we accept and what we have stopped noticing.

The Mona Lisa has become a central figure in these explorations. Her instantly recognisable face offers a powerful starting point for interference and reinvention, challenging the security of an image we think we know. Alongside her, the Madonna remains an important presence, carrying associations of devotion, motherhood and idealised femininity. I am drawn to the friction between reverence and irreverence, beauty and disturbance, the sacred and the mischievous. Through these encounters, I explore how women have been represented, revered and constrained—and how those inherited images continue to shape contemporary expectations.

There is an increasingly critical thread running through this work: a questioning of society’s values, its contradictions and the images through which it presents itself. Collage allows me to bring different worlds into collision, exposing tensions beneath familiar surfaces. This is what I think of as an urban contemporary renaissance: revisiting the imagery of the past with the freedom to challenge it, disrupt it and give it new meaning.

Nature remains another strong thread. My trees and landscapes grow from a desire to express the feeling of a place—the shelter, movement, solitude or freedom it evokes. Across these different subjects, colour and texture help me convey what a literal likeness alone cannot.

I work intuitively, leaving room for tenderness, mischief, anger and surprise. I want my work to engage people emotionally, but also to interrupt their certainty—to make the familiar feel unfamiliar, and sometimes to leave an awkward question that refuses to go away.