My work is concerned with observation of detail, structures and linear forms in the natural world. I am particularly drawn to forms such as the overlapping of tree branches, which serve to create new shapes and patterns. I have been inspired by the depiction of nature in Eastern art and culture as a representation of divine beauty. I make reference to Chinese aesthetic traditions, focusing on the strokes of the hand, contemplative study of detail and the impermanence of nature.

For the last three years I have experimented with print in order to create a template for cut out work in both two and three dimensions. I draw directly into paper with a scalpel, instead of filling in an outline, I remove the centre. Work which began as 2D cut-outs has subsequently developed and increased in scale to a room-sized installation. This allows me to further explore perspective in the form of intervening lines and shadow, confusing foreground and background. I am interested in redefining the characteristics of a space by allowing light to alter the walls and dimensions through gradients of shade. The palpable time and labour in the routine of paper-cutting suggests "that the methods we employ to arrange our world provide more insight into ourselves than that which we seek to organise." It is important to me to hand-cut the piece as the flow and strokes of the hand best reflect the arching and bending of branches. I believe the hand also adds a juxtaposition of beauty and the painstaking labour of detail and time.

White suggests notions of harmony and simplicity, by rejecting chromatic colour, focus is given to the expression of the cuts. In using white I allow the space to take on the colour of natural light and change according to the sun's own cycle. In this way my work has transient qualities and a shifting focal point depending on the time of day.