Like most artists, I have had a love of drawing and painting for as long as I can remember, but two factors I feel are unique about my work are my technique and my inspiration.
Firstly, I always draw freehand, avoiding templates. I feel this is a truer, more authentic approach to art and it helps me to integrate a sense of movement and abstraction into my pieces. Furthermore, it ensures a bespoke, one-of-a-kind painting every time.
Secondly, you may find that my work has an Eastern influence, as I am mixed race myself and grew up in Hong Kong, Singapore and Pakistan before moving to Britain. I take my influences from both the Western and Eastern worlds of art, fusing the two together to create a modern and worldly style of my own.
I use a range of art mediums, but my favourites are watercolour and oil.
Watercolour allows me to be intricate, and to introduce the precise, refined details required to create recognisable and realistic depictions. Oil, with its more rounded and blended appearance, is what I mainly rely upon to bring depth and abstract qualities to my work.
Most of my work is of animals, capturing their emotions, innocence and majesty. My favourite depictions are of horses, as I love to portray their muscular definitions and animate them on paper. I am happy to reanimate those pets that are no longer with us and, if requested, add an abstract element to animals in tone, colour and shape.
All pieces are bespoke paintings and adapted to the observer’s preference of colour, mood or essence of the animal itself.
In addition to this, I create beautiful florals and can accommodate other requests. I am flexible in my approach, and can turn my hand to anything you would like captured in paint.
My influences are wide-ranging and come from around the world, but I would pick out three artists in particular who have influenced my work most:
I was deeply moved to display 3D motion in horses from the works of Braque and his historical role in the development of Cubism. His ‘Violin and Candlestick’ (1910) – a piece I find fascinating and exciting to look at – really motivated me to display dimensions in my work.
Interestingly, Bacon was not an artist I realised I was influenced by until other people made the comparison when viewing my work.
Sometimes macabre, his illustrations often took the form of triptychs (sets of three), with movement and changes of mood evident across the three paintings. This is something I aim to encapsulate within a single piece.
I can still remember staring at ‘The Persistence of Memory’ (1931) as a child, in awe of Dalí’s manipulation of paint to make the surreal look real. Best known for its depictions of drooping clocks, this piece was a key reason for my fascination with abstract work, and my eagerness to integrate it into paintings of real world subjects.