My practice often begins with close botanical observation. Early works focused on botanical accuracy, but as the forms developed in relief, shadow emerged as an unintended by-product. This marked a shift in my thinking: shadow became an active material rather than a consequence.

By positioning porcelain elements at varying depths, the works move beyond representation. Overlap, spacing and shadow introduce a spatial reading that changes with light and viewpoint. While the forms remain recognisable, their arrangement disrupts natural order, allowing abstraction to emerge through repetition and fragmentation.

These works sit in a space between observation and interpretation, where natural forms become vehicles for exploring depth, rhythm and impermanence.