I use the term panel works to describe these pieces, which are composed of multiple individual sheets brought together to form a single, larger work. The format evolved naturally from my longstanding use of A4 paper — originally a practical choice dictated by a small desk and readily available materials, but one that became integral to the rhythm and structure of my practice.

The paneling process emerged after completing a body of work titled 500 Flowers, in which I painted every flower I encountered within a defined period. When the series was exhibited, I installed the paintings across the walls of a Georgian building in a tiled formation, allowing the individual works to function collectively as one expansive piece.

After several years of painting flowers, I felt drawn to a new muse. Trees first appeared as reflections within earlier works before becoming subjects in their own right. As the scale of the paintings grew, the panel format once again emerged naturally, allowing each composition to expand and hold the presence of the tree beyond a single frame of vision. I work on warm-toned Italian paper whose colour recalls the interior of a tree — a surface that feels more aligned with these organic forms than stark white. Using Sumi ink, valued for its tonal range and subtle gradients.

My practice follows the rhythm of the 52 micro-seasons, drawn from the Japanese calendar that honours the fleeting nature of change. Each artwork responds to what I observe in the landscape that week — a moment of growth, season. These panels hold these variations, offering a record of time and place.