I use drawing as a way to construct worlds and to understand how different systems can exist together within a single image.

My work often begins with something recognisable: a landscape, a building, a figure, an animal, a memory, or an observed place. But I am not interested in simply reproducing what I see. I am interested in how observation changes when it passes through memory, imagination, repetition and structure. As I work, different elements begin to connect and form their own internal logic.

A central question in my practice is how complexity can remain ordered. I am drawn to images that contain a large amount of information, but I do not want that density to become chaotic. I think about relationships between parts, how one form affects another, how geometric structures can exist beside organic forms, and how architecture, landscape and figures can become part of one larger system.

For me, drawing is not only a way of making an image. It is also a way of thinking. Every mark records a decision. Repetition records time. Changes, corrections and shifts in density reveal the process through which the work develops. I am interested in allowing some of that process to remain visible, so that the finished work becomes both an image and a record of how it was constructed.

I often think about the difference between a landscape and a world. A landscape can be observed from the outside, while a world needs to feel as though it has its own rules. I want my drawings to suggest that the space continues beyond the surface, that the figures, structures and environments belong to something larger than what is immediately visible.

My practice moves between direct observation, imagined space, physical drawing and digital image-making. These methods are different, but the questions remain connected. I am interested in how real places become transformed through memory, how imagined environments can acquire a sense of structure, and how different tools change the way an image is organised.

My engagement with computer science also exists alongside my artistic practice. I do not see the two fields as the same, but both involve systems, relationships, rules and complexity. In my drawings, a small change in one part of the composition can affect the structure of the whole.

Ultimately, I am interested in how order is created within complexity. I see each drawing as a temporary system, a place where observation, imagination, structure and uncertainty can exist together. For me, drawing is a way of testing how a world can be built, and how its parts can begin to belong to one another.