My practice responds to architecture through drawing and painting. In my current work, I look to the great women architects of the Modernist movement and their designs for domestic space. I am interested in how these architects challenge expectations of domesticity, creating multi-functional spaces that are negotiated by the women who live within them. 

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In painting, I aim to link stories, relationships, and intentions through a collage of rooms and objects. I apply paint in thin, washy layers - with a suggestion of detail created in the final moments of a painting. Edges are blurred and sections of the canvas are left unfilled. The elusive nature of fixed and shifting light is translated into shades of white, yellow, blue, and purple while the warmth of wood and textiles creates shifts in this colour palette. 

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The objects depicted play an integral part in the negotiation of interior space; the furniture is an extension of the architecture and allows the designer to decide the function of the room. It is this intentional pairing of space and furniture that makes spaces liveable, desirable. Through painted studies of ‘the bedroom’, ‘the bathroom’, and ‘the dining-room’, my work aims to present the synonymity of collected and arranged objects with self-care, autonomy, privacy, and nourishment.

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The title for this series is taken from a Provençal proverb ‘Avec le temps et la paille, les néfles mûrissent’ which translates to ‘With time and straw, the medlars ripen’. Eileen Gray chose to rename her house in Castellar from Le Bateau Blanc to Tempe à Pailla (Time and Straw) inspired by this proverb, which alludes to the need for time to elapse for things to happen as they should. The body of work has become an artifact of a longing to experience rooms and objects I will never see.