The Time Series emerged from the dislocation of the early Covid-19 lockdown, when separation from my paintings and usual workspace forced a sudden shift in both daily life and artistic process. Working from a makeshift studio at home, I began to reflect more closely on time, memory, and the altered experience of space under conditions of isolation. It was also a period marked by transition: a future that had previously felt distant began to move unexpectedly closer, bringing with it an awareness of time not only as something remembered, but also anticipated.

During this period, I was reading Carlo Rovelli’s reflections on time, and his writing opened up questions that stayed with me: how we experience the present, how memory shapes what feels real, and how time can seem to stretch, collapse, or fragment under pressure. These paintings grew out of that atmosphere of uncertainty, where familiar spaces became newly charged and interior life took on a different texture.

Across the series, domestic interiors, fragments of architecture, and glimpsed urban spaces become sites through which these questions are explored. Some works attend to solitude and enclosure, while others reflect the strange atmosphere of streets and structures emptied by restriction, where familiar places could feel suspended, distant, or newly unreal. Made across and around a moment of relocation, the works move between interior and exterior spaces, holding a subtle tension between inhabiting and anticipating, memory and projection.

Together, the paintings reflect on the ways space can carry memory, and how moments of disruption can alter our sense of time itself—holding us between what has been, what is unfolding, and what is still coming into view. What began as a response to a specific moment has become part of a broader ongoing enquiry in my practice: how painting can give form to experiences that are felt more easily than they are explained.