My work examines how emotional life is organised through images. I work with lesser-known historical paintings because they hold gestures and compositions that have travelled across centuries. By selecting and re-staging these scenes, I can think about inner life without turning the work into autobiography.

The process is systematic. I intervene digitally, then move into cutting, transfer-printing, rubbing back and repainting. Each layer is constructed on wood panels, and every transfer involves removing the paper by hand. The pressure, abrasion and seams that remain are integral to the composition. They record labour, decision-making and time, and they shape how the image ultimately holds together.

Historical gestures interest me because they condense belief, power, celebration and doubt into physical movement. Once opened up and recomposed, these inherited forms shift from narrative scenes into structures of rhythm and attention. My background in set and costume design shapes this sense of staging, with the works holding the impression that something has taken place and that something else is about to form.

Psychoanalytic thinking shapes the way I approach the image in encouraging me to notice what returns, what resists, and what lies beneath. Cutting, reassembling and transferring become ways to test how experience is carried and reshaped. I make the work as a way of staying in conversation with my own history, and I hope it helps others in reflecting on theirs.