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.

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.

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.

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.

Discover a rare glimpse into art history through my visit to Dürer to Van Dyck: Drawings From Chatsworth House exhibition at the Royal Scottish Academy, housed within the National Galleries of Scotland in Edinburgh. Featuring pieces by Dürer, Van Dyck, Rubens, and Rembrandt, this captivating display not only unveiled historical techniques but also inspired me to explore new creative approaches in my own work.

These 1-2-1 tutorials always feel like a valuable pause - moments to recalibrate and refocus my direction of study. This second session reaffirmed that I’m on the right track, while also opening up new avenues for experimentation. We explored the role of negative space in my work, the idea of balance in Chinese Brush Painting, and how translation - of memory, place, and emotional resonance - continues to shape my practice. I left the tutorial with a renewed sense of confidence and excitement, eager to push my work further, both in scale and concept.

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.

In my study statement, I outline my exploration of themes such as memory, belonging, and isolation through ink painting. Using techniques like layering and shadow effects, I aim to evoke emotional connections to landscapes and the collective consciousness tied to places. This study will incorporate the concepts of cianalas, place attachment theory, and collective memory, creating a body of work that invites viewers to reflect on the nature of both personal and collective experiences.

In this article, I reflect on how Maggie Cross' The Art of Chinese Brush Painting has inspired new directions in my artistic journey. From experimenting with unconventional ink techniques to rediscovering the connection between calligraphy and brush painting, I explore how these traditional methods are shaping my approach to creating art.

Scaling Up #1 is my first attempt at translating my detailed style into a larger composition. This experimental sketch taught me to embrace imperfections, overcome creative hurdles, and find unexpected freedom in the challenges of working on a new scale.

In this blog post, I reflect on the relationship between resentment and imagination, a topic we explored in a recent group session. Resentment, while technically involving a form of imagination, can block our creative processes by leaving no room for growth or positive creation. Through a free writing exercise on what blocks my imagination, I uncovered insights that continue to shape my artistic practice.

Inspired by feedback from a group critique, I’ve introduced stippling brushes into my process, creating soft, shadowy textures that enhance the dreamlike quality of the piece. The unexpected comparison of my work to a cathedral has deepened my perspective on the painting, as I continue refining this exciting exploration of scale, texture, and memory.

Participating in my first group critique session was both nerve-wracking and exhilarating as I shared my large-scale experimental piece for the first time. The feedback I received, from technical tips like using a stipple brush to deeper inspirations such as exploring Sohrab Sepehri’s work and Chinese Freehand brush techniques, left me with an unexpected burst of motivation. This experience marked a pivotal moment, moving me from guarded creation to confident exploration, and showed me that sharing my art amplifies its meaning rather than diminishes it.

In my recent sketches, I’ve begun exploring layered colour washes over my usual black ink - a new approach that brings depth and emotion to familiar landscapes. Working with hints of purple, blue, and pink, I’m experimenting with how colour and proportion can transform the mood of each piece, drawing out themes of cianalas and enhancing my connection to the natural world.

In my recent exploration of place attachment, a conversation with a friend introduced me to the Welsh word "hiraeth," which expresses a deep longing for home. This led me to discover its Scottish counterpart, "Cianalas," particularly poignant among the Islanders of the Outer Hebrides. This term encapsulates the emotional connections we form with places, shaped by personal histories and collective memories. As I delve into Cianalas, I aim to weave together the themes of place attachment and memory in my artwork, employing techniques such as layering and shadow to evoke the nuanced emotions tied to these significant locations. My practice will reflect how memories, much like shadows, can shift and change over time, creating a tapestry of experiences that shape our identities and sense of belonging.

Letting go of the idea that everything needs to be perfectly polished has been surprisingly liberating. Whether it’s in my art practice, where I’m starting to experiment with more freedom, or in submitting entries to this blog, I’m learning to embrace the raw, unrefined stages of creativity. I realised even my class notes - those initial sparks of thought - have value as they are, offering a true glimpse into the journey behind each piece. By sharing these unpolished moments, I hope to reflect the real process behind my work, revealing where ideas take root and evolve.

In revisiting a painting I had abandoned over a year ago, I found freedom in the absence of expectation. Through experimentation with ink washes and looser brushstrokes, I discovered new techniques that brought life and energy to "Duibhe," a piece inspired by the dramatic skies of the Scottish Highlands