A Clear View

The concept of A Clear View is rooted in a deep, almost physical sense of reset. Of renewal. That we are all always changing, no matter how we try to hold onto past versions of ourselves. Every year is going to bring a different clear view, a resetting of where we’re headed from what was left behind. This sensation of seeing things anew yet with deep familiarity, became the bedrock of the entire exhibition.

The creation of A Clear View is unfolding with surprising ease. The moment I was offered the show in May, I knew exactly what I wanted to paint. The landscapes in this collection are from the South of France — specifically around the small village of La Palud, about two hours northwest of Nice. Through long days of climbing and exploring, I would tour the countryside, sketchbook in hand.

It is an area my husband and I have visited for a decade, usually in the off-season when everything is closing down and there are fewer climbers around. A kind of stillness settles over the landscape that I find captivating. The connection is both personal and sensory — the shifting light across the cliffs, the glorious scent of rosemary and lavender, the play of shadow. My paintings of craggy cliff faces and expansive horizon lines celebrate this balance of vastness and intimacy.

While the exhibition is vibrant, it is also anchored in profound reflection. I think of A Clear View as emerging from a kind of life reset — a recognition of what truly matters through loss and change. It’s a reminder of what’s important: health, breath, love, and adventure. The exhibition becomes a meditation — a space to slow down, to breathe.

Technically, my paintings are grounded in my love of oil paint mixed with cold wax medium, a combination that creates visual and textual depth. The wax thickens the paint, adding texture and translucence. You can see the colours from underneath pulling forward — it’s magnificent.

My process begins with a series of small, loose 4x4-inch sketches (see below) — quick impressions made on site, usually within fifteen minutes. These are later translated onto the cradle panels in my studio. I look at each sketch and decide what really mattered in that moment and strip away what isn’t important. The result, I hope, is a work that feels distilled yet draws the viewer in for a closer look.

Visually, I’ve designed the exhibition to be fresh and modern. Fifteen paintings displayed in clean symmetry. Each piece is an echo of the one before in a way that feels kind of quiet and expansive. I decided to leave the unframed sides of the panels visible, a nod to my father, a woodworker. I love the texture of wood.

In the end, I hope visitors will leave the exhibition asking themselves a simple, reflective question: “How can they find their clear view?”

The exhibition is lovingly dedicated to the people who have had a special influence in my life.