Painting is anesthetic to the pains of my obsessive fascination for psychology. It takes my love for colours and creativity and helps me focus my brain with one goal; to create and understand. I have spent years in my own self driven research learning about people-oriented ontology and psychology. While mostly concerning myself with the whys of the human mind I have explored paths through mind-body dualism and enactivism.  With my photography I noticed my interests spiked when investigating experimental forms of photography, taking up pinhole and hand drawn on photographs was a pivotal point in understanding further the cognitive connection between seeing an experience through someone else’s own eyes while creating a like experience through an intentionally targeted visceral reaction. I believe that within my work, it is important to leave my own marks as an artist as it helps the viewer relate to myself as they can see the process I went through, making the piece, through their own visual interpretation. Ultimately, though my works always reflect to my style as a painter, using a pallet with a full colourful tonal range. Formally I tackle an unrefined mix of impressionism and expressionism and my subject matter tends to revolve around my infinite fascination of the human form. My passion started in my younger years having gone abroad and walked through up to ten different art galleries and museums through out Italy. I instantly fell in love with Michelangelo’s figures and saw the shift in my work influenced more by his works then any other artist I’ve ever encountered. Taking the romanticized forms of the renaissance and deconstructing the body into a more unsophisticated form of colour and shape I have strived to reach a new range of knowledge through a more analytic composition. I started my practice with an immature ideology of what my art represents and now have started to construct an artistic maturity that is evolving and expanding with every new piece I bring into being.