My multimedia practice frequently focuses on the environment and ecology, integrating drawing and painting to relay the intricate complexity of natural forms within my art. I also incorporate textiles into my work to create three-dimensional, sculptural artworks that interact with natural settings, creating a synergistic relationship between art and the environment. Photography is essential to my art practice, functioning as an investigative tool to document sites and ecological phenomena, identifying the individual characteristics of my subject, like the gnarled roots and cracked bark of trees. Combined with the velvety threads of moss my artwork carries incredible tactility and detail that reveals the detail of each organism, providing a sensory window into the complexity of the natural world. 
 
During a research residency with art and culture company Deco Publique, I explored ways of generating dialogues with the environment, visiting Eaves Wood, a National Trust site of ancient woodland in Silverdale. My encounters with trees and abundant moss growth led to the creation of ‘Bloom’ (2024) and ‘Entangled Growth’ (2024), paintings that respond to the intricate textures and entanglement between moss and trees. Placing the paintings in Eaves Wood facilitated a dialogical relationship with the woodland, where environmental encounters manifested on the artworks through mossy marks and stains, establishing the surrounding environment as a collaborative participant in the art. 
 
These paintings respond to the theme of Eco-Visions by illuminating imaginative methods of engaging with the environment as a participant or collaborator in artworks. In the context of rapid planetary change and the objectification of nature, recognising the environment as an interactive force and actor can encourage heightened ecological consciousness and a vision for collaborative, reciprocal dialogues between humanity and the environment.