Adaptation came about because I had to change the way I paint. Somewhere along the way, that became interesting.

This body of work has grown from changes in how I physically make a painting. Different tools, altered movements and an increasing use of studio residue have all found their way onto the canvas. Dried tea leaves, stitched tea bags, coffee grounds and fragments from the palette sit alongside repeated marks and layers.

Some of these materials behave themselves. Others absolutely do not.

That unpredictability has become part of the work. Studio residue creates moments of chaos I couldn’t deliberately paint, interrupting my marks and shifting the surface in unexpected ways.

Adaptation is an ongoing negotiation between intention, limitation and chance. The methodology has changed, but the need to make the work hasn’t.