Narratives in Art.
Narratives in Art is a living archive of my practice, a space to document, process, and think out loud. Posts might follow a new work, a small observation, an exhibition, or a question I can't yet answer. There is no fixed agenda here, only an ongoing record of how the work develops, where it leads, and what it is slowly becoming.
5 Minute Summary Video.
A five minute video made for my Unit 3 assessment, filmed in the landscapes of Kingussie that have shaped so much of my practice. Part reflection, part resolution — two years of research, making, and gradual self-understanding, brought back to the place where much of it began.
1-2-1 Reflections.
A reflection following a 1-2-1 tutorial during my MA Fine Art, exploring direction, identity, conflict, and the emerging threads shaping my practice. This post considers fragmentation and cohesion, material resistance, and the importance of nature, community, and momentum as I move into the final phase of the course.
3 Minute Summary Video.
A curated overview of my Unit 2 work, bringing together key developments in my art practice, research, and reflective writing. This page highlights the connections between material exploration, embodiment, landscape, and the evolving ideas shaping my ink-based practice.
Unit 2 Assessment.
A curated overview of my Unit 2 work, bringing together key developments in my art practice, research, and reflective writing. This page highlights the connections between material exploration, embodiment, landscape, and the evolving ideas shaping my ink-based practice.
The Living Mountain.
Reading Nan Shepherd’s The Living Mountain deepened my understanding of how landscapes hold memory and shape our inner worlds. This piece reflects on place, belonging and the threads that guide my art practice.
Creag Bheag.
A reflection on a new ink painting inspired by a walk up Creag Bheag with my mum, focusing on the solitary silver birch near the summit and the quiet energy of the landscape. I explore mark making, texture and the emotional pull of place while trying to reconnect with my flow after the research paper.
Anselm Kiefer Exhibition.
While visiting Amsterdam, I had the chance to experience Where Have All the Flowers Gone, a powerful dual-venue exhibition of Anselm Kiefer’s work. This post reflects on the impact of seeing his monumental canvases in person, the influence of Van Gogh, and how it all connects back to my own artistic practice.
Perhaps We Should Reconsider.
In March 2025, I exhibited three ink paintings in the CSM Interim Show Perhaps We Should Reconsider. This blog reflects on that surreal and affirming first exhibition experience - sharing thoughts on the works shown, the installation process, and the joy of finally meeting my course mates in person.
Unit 1 Assessment.
This post reflects on my research and artistic development throughout Unit 1, exploring themes of memory, belonging, and isolation in landscape-based work. From place attachment theory to material experimentation, I examine how theory and practice inform each other, shaping my approach to ink, scale, and composition. Through critiques, exhibitions, and research into Chinese brush painting, I’ve refined my methods and deepened my understanding of how places hold meaning. Moving forward, I aim to push the balance between clarity and ambiguity, allowing for greater interpretation and connection in my work.
“Understory”.
Repurposing discarded office frames as canvases led to Understory, a piece exploring memory, balance, and belonging. Using my new Chinese painting set, I experimented with ink grinding, layering, and the interaction between paint and space. Inspired by the forests of Loch Tay and the concept of the understory, this work reflects on the haziness of memory and the unseen layers that shape our connection to place.