What I have explored in painting as a colour field becomes here a physical placement – colour is no longer contained within the painting, but set directly into nature as a three-dimensional body, a frame, a disc.

This approach is connected to my interest in ancient Asian and Celtic traditions of placing stones in the land to activate geomantic points. In my work, this act shifts from stone to colour.

A colour disc in the landscape acts as an intervention that strengthens and attunes a site while establishing a relationship with the elements – especially natural daylight. Unlike indoors, colour here is exposed to the full spectrum of light, allowing for a fundamentally different experience of seeing.

The work subtly alters how a place is perceived – not by changing the environment itself, but by shifting how it is experienced.

My invitation is to remain with the work over time, or to return to it – to experience how colour shifts through light and across the seasons.
In this way, my sculptural placements act as points of orientation and offer a reference – allowing me to sense where I am, where I have been, and where I am going.