At the first light of morning, two birds, Sun and Moon, cross a valley together. Their journey is a goodbye: the Moon, moving farther away as daylight gathers, still carries a beauty of its own, even as the Sun begins to brighten the world. Dew lies over the valley, and the morning warmth lifts the mist between them. I imagined their final closeness as a kiss at the edge of day; a tender parting in a landscape full of colour and new light.

A graphite portrait held against darkness. The title reflects the inward currents that move through us: feelings that recede, return and reshape the shore of who we are. I wanted the face to feel still, while the contrasts in the drawing suggest something continuing beneath that stillness.

Reach centres on the language of the body: the effort of extending toward something just beyond the frame. In graphite, I could keep the image spare and let light and shadow carry the feeling. The gesture can suggest longing, hope or simply the instinct to keep moving toward what calls to us.

A quiet portrait study shaped through line, light and shadow. I left the drawing open enough for the searching marks to remain visible; they give the face a sense of immediacy, as if the image is still arriving on the page. For me, the sketch holds the intimate feeling of looking carefully at someone and trying to understand their expression.

A study of daisy-like chamomile flowers, painted against a dusky blue background. Their pale petals and golden centres seem to catch the last light of evening. I was drawn to the humble beauty of these flowers - their familiar, almost wild presence - and to the calm that comes from looking closely at something small.

White blossoms gather against a deep blue ground, their delicate forms held within a field of cool colour and green leaves. I wanted the flowers to feel as though they were appearing out of dusk: luminous, but quiet. The painting is less a record of a particular place than a small pause within it, where the eye can settle among the blossoms.

An oil study after John William Waterhouse’s The Soul of the Rose. I was drawn to the painting’s suspended moment: a woman leaning toward the roses as if listening to them, absorbed in their scent and their quiet beauty. This study gave me the chance to explore Waterhouse’s romantic atmosphere and the way warm light can make a fleeting gesture feel almost dreamlike.

This portrait is of Roni, my much-loved companion. I wanted to capture not only his bright, attentive gaze, but the warmth and comfort of his presence. The golden background lets him seem to emerge from the light, while the loose brushwork keeps the portrait tender and personal.