'I work with transparent colour to allow subtle shifts in tone and hue to describe form. My process is observational rather than planned: I apply small amounts of colour incrementally, continually assessing, comparing, adjusting, and refining.

I study how light affects the subject—where warmth appears, to what degree, and how it shifts across the form. These changes may be dramatic or barely perceptible, but all are driven by close observation. Watercolour, for me, is a process of problem-solving rather than following a predetermined route. At times, stepping away allows the work to rest; returning later often reveals a freshness that wasn’t apparent before.

The dark areas demand the greatest attention. Although they may initially appear uniform, treating them as such would result in a flat and uninspiring outcome. Each component within the shadow contains subtle variations of temperature and colour that deserve to be articulated. There is no fixed rule that light is warm and shadow is cool—only careful observation determines the truth.

This process sometimes requires a degree of risk and confidence in colour knowledge, such as underpainting with a cool base before layering warmer, more complex mixes to build depth and light. Throughout, I constantly compare colour, tone, and temperature with adjacent areas, as it is these relationships that create credibility and sustain my engagement."