For the generation shaped by the transition from analogue to digital – with the rise of flat screens, smartphones, and social media – forms of isolation have emerged not through absence, but through uninterrupted connection. This paradox underpins my practice. As a human being and as an artist, I am drawn to the experience of negativity as it manifests internally: as tension, fragmentation, and cycles of thought. My practice, in itself, explores the control and chaos within psychological space, focusing on moments of inner antagonism and the disorientation of getting lost in one’s head. The work indeed operates as an investigation of the act of thinking and feeling, uncovering the patterns and instabilities found within psychical navigation systems. My primary aim is to attempt to give form to these internal states. By considering both natural and constructed environments, how they interact, as well as colour and cinematic theories, I build speculative, cerebral landscapes which reflect the unsteady disposition of perception and experience. The presence of both abstraction and architectural elements within my work showcases this tension and instability, exploring the subjective notion of headspace as such. As a hypersensitive person, my heightened responsiveness to emotions and sensory factors plays a pivotal role in my process. Whilst hyperempathy allows me to absorb both my own experiences and those of others, listening to music and reflecting on personal and shared negative events becomes a method of immersion – allowing me to channel the consequential, psychical imbalances directly into the work. Although interdisciplinary, my practice is nevertheless mostly bound to traditional media, and particularly painting. This attraction towards analogue modes of production is hemmed in my desire to remain limited by organic boundaries in order to maintain intimacy in visual investigations through hands-on gesture. In the case of painting, it is the freedom of visual language it allows as well as the physical qualities of the paint in itself, which release a sense of authenticity, that drives it as a dominating interest. A significant part of my practice nonetheless lies in the medium of digital photography – this defiance of my own commitment and activity as an artist stands as a practical embodiment of the tension and fragmentation I explore within my work. Based in contemporary approaches of enduring negativity, my work examines tension and fragmentation, and control and chaos in contexts of thinking and feeling. Embodying, and then giving form to this disorientation by creating speculative psychological landscapes, I seek to reveal the instability of perception and experience through an interdisciplinary practice lead by painting.