Original Canvas
The artist spills out her inner world onto canvas.
to reflect outwardly and creatively the things she cannot explain with words.
Collections
 42 cm x 30 cm Oil, acrylic, and spray paint on stretched canvas. Oil and acrylic sit in quick layers across a dark, mottled ground, with spray creating a soft haze between sharper strokes. Deep reds, bruised purples, and blackened shadows build a sense of pressure, while small notes of acid green and pale blue flicker through like interruptions. |  52 cm x 76 cm Poured acrylic on stretched canvas. This work is built through pour and flow, allowing acrylic to pool, thin, and stain into the canvas before being pulled into vertical runs. A pale, misted ground holds the surface together, while soft veils of grey, lavender, and cool green are interrupted by brighter notes of lemon yellow, coral, and cobalt. The paint settles in layers, creating a wet shimmer in places, and a chalkier, succumbed texture in others. |  30.1 x 23.2 Pouring acrylic paint on a bed of stretched canvas. Combining thoughts of the ocean, while being present in the forest. Ghost arranged the green hues from trees around her into a dream scenario. |  119.7 x 40 Oil, acrylic and spray paint on a bed of canvas. Ghost has used paint as a medium of self-conversation, in response to arising emotions she has spoken abstractly without words. Being able to make a physical embodiment of those unconscious conversations that happen in her head, she feels it helps to take them from purely living inside to being real, physical, and therefore opens up the door for observation and inspection. Listening to that interpretation of flow back and forth. |  30.1 x 23.2 Pouring acrylic paint on a bed of canvas 'I wanted to conjure up the same feeling of happiness that have filled me up today, so that you shall also be struck with this beautiful world' |
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Organic Signals
Seven piece collection containing works focused on abstract details and movement.
Independant paintings
These works are made as individual studies, responses, or stand alone paintings, each led by its own mood, material, and direction. While they are not part of a larger series, they still reflect the themes that run through Emily’s practice, emotion, movement, nature, and the space between the familiar and the imagined.
the land of the upside down
42 x 30 cm
Oil and acrylic on stretched canvas.
This work stages a dense, dreamlike scene where figure, animal, and symbol share the same visual weight. A recurring creature appears again, positioned as both guide and witness, while the composition shifts between portrait fragments and a crowded, invented landscape. Colour is pushed high, turquoise, acid yellow, pink, and green, and held together by direct contour lines and fast, illustrative mark making.
The painting operates through accumulation. Forms sit on top of one another without traditional depth, producing a flattened space that reads like memory, storyboard, or myth. Oil adds opacity and drag to selected passages, while acrylic carries the brighter fields and quick transitions. Small motifs repeat across the surface, eyes, mouths, flowers, and hybrid shapes, building a vocabulary that feels personal and recognisable across the series.
When you're a stranger
30 x 23 cm
Acrylic on canvas.
Figurative work built through poured acrylic, staining, and high chroma contrast. A face appears within a field of liquid colour, lemon yellow held against deep black, teal, and bruised magenta. Marbled pours create drifting veils across the surface, while dotted passages and sharp graphic lines introduce interruption and rhythm. Metallic and white highlights catch the light, giving the work a shifting, reflective surface.
The portrait is intentionally unstable. Features are suggested rather than fixed, with the eyes and mouth emerging through layers that obscure as much as they reveal. The use of pouring allows chance to shape the image, producing edges that bleed, pool, and fracture, so the figure reads as both present and estranged.
Viceral
30 x 21 cm
Oil and spray paint on stretched canvas.
Visceral is a small scale portrait constructed through speed, abrasion, and saturated colour. A face is broken into essential features, eye, mouth, cheek, held within a field of spray haze and scraped passages. Acid yellow, cobalt blue, orange red, and black are worked against a pale ground, with directional marks cutting across the head like interruption or static.
Celestial Being
30 x 21 cm
Oil and acrylic on stretched canvas.
Celestial is a compact figurative work built through high contrast colour and direct line. A frontal face is set against a saturated field of orange and yellow, with blue, red, and black passages cutting through the features in vertical runs and sharp contours. Above the head, a halo like oval hovers in concentric bands, introducing a formal counterpoint to the instability of the portrait below.
The painting balances graphic immediacy with psychological tension. Facial features are simplified and slightly displaced, allowing the image to sit between portrait and emotional register. Acrylic is used for flat, bright intensity and quick linear movement, while oil adds weight and opacity to selected passages, giving the surface a layered, unsettled rhythm.
Rather than describing a fixed narrative, the work holds a state of heightened introspection. The halo motif suggests awareness, projection, or internal pressure, while the fractured colour structure keeps the figure in flux. The result is a small scale work with a strong visual charge, where contemplation is rendered as something active, unstable, and luminous.
Anguish
61.1 x 46 cm
Oil and acrylic on stretched canvas.
Anguish is a figurative work that uses distortion as structure rather than effect. A head is held in a sharp yellow outline, set against a dark ground of saturated blues and black. Within the form, layered blocks of grey, red, and ochre are worked over and partially erased, creating a fractured interior space. The facial features are exaggerated and compressed. A widened mouth becomes the central register of the painting, while one eye is rendered as a bright focal point and the other collapses into a blackened smear and run.
Material handling drives the image. Oil is built in dense passages and dragged back to expose under layers, while acrylic is used for sharper graphic edges, drips, and staining. The surface retains abrasion, overpainting, and interruption, allowing the painting to read as an accumulation of states rather than a fixed likeness.
The work addresses psychological pressure and the way it alters self perception. Rather than narrative, it relies on colour contrast, scale shifts, and unstable contour to convey intensity. The result is direct and confrontational, an image of endurance held in plain terms, with no attempt to soften or resolve the tension.
A Listening Body
152 x 76 cm
Poured acrylic on stretched canvas.
This work is built through pour and flow. Blush pinks, milk whites, and warm reds settle into translucent veils, then thicken into darker pools and drips. Sharp notes of acid yellow flare through the surface like interruption. Broad arcing strokes frame a central, bodily form, held between softness and pressure, as if the paint is both sheltering and exposing what sits beneath it.
The piece sits in Emily’s ongoing practice of using abstraction to hold lived experience. The softened edges and layered washes speak to the way femininity is often defined from the outside, expected to be quiet, compliant, and fragile. Here, those qualities are re-read. Quiet becomes attention and awareness. Fragility becomes empathy, sensitivity, and connection.
The subject is also about care, and the gaps within it. Women’s pain is routinely overlooked or minimised, and experiences of vulnerability are too often dismissed rather than properly held. Made from lived experience of endometriosis and adenomyosis, the painting is an annotation of being in a body that has to insist on being taken seriously. It holds tenderness and resistance at the same time, treating softness as a form of endurance rather than weakness.
100 x 150 cm Oil, acrylic, and spray paint on stretched canvas. This large scale work combines figuration, botanical forms, and recurring symbolic motifs within a vertically staged composition. A central female figure rises through a field of blue, with the body partially entwined by stems, blooms, and eye forms that function as both ornament and witness. The scale gives the figure a totemic presence, while the surrounding imagery keeps the surface active and unsettled.
100 x 150 cm Oil, acrylic, and spray paint on stretched canvas. This large scale work combines figuration, botanical forms, and recurring symbolic motifs within a vertically staged composition. A central female figure rises through a field of blue, with the body partially entwined by stems, blooms, and eye forms that function as both ornament and witness. The scale gives the figure a totemic presence, while the surrounding imagery keeps the surface active and unsettled.
Silent Bloom
54 cm (H) x 40 cm (W)
Oil on stretched canvas.
Sightless Bloom is a self portrait painted in oil with palette knife pressure and layered brushwork. The surface is worked and reworked, leaving drag marks, scraped passages, and dense areas of pigment that give the face a softened, shifting edge. Cool blues and inky blacks sit behind the figure like a tide, while sharp, acid greens break through the ground in small flashes.
The work sits with the idea of unrecognised growth. It speaks to moving forward while still being pulled by old narratives, and to the quiet shock of realising you have already changed. Painted as an annotation of self acceptance, the piece holds the moment where anxiety loosens, not through a dramatic break, but through a slower kind of seeing.
54 x 40 Mixed media on stretched canvas Structured abstract composition built from stacked blocks, repeated symbols, and diagram-like line. Fields of teal, cobalt, lilac, and warm pink sit against a dominant yellow ground, creating a grid that feels part architecture, part interface. The surface is developed through layered flats and hand drawn marks, with occasional drips that interrupt the geometry and keep the image in motion.
54 x 40 Mixed media on stretched canvas Structured abstract composition built from stacked blocks, repeated symbols, and diagram-like line. Fields of teal, cobalt, lilac, and warm pink sit against a dominant yellow ground, creating a grid that feels part architecture, part interface. The surface is developed through layered flats and hand drawn marks, with occasional drips that interrupt the geometry and keep the image in motion.
54 x 40 Mixed media on stretched canvas Structured abstract composition built from stacked blocks, repeated symbols, and diagram-like line. Fields of teal, cobalt, lilac, and warm pink sit against a dominant yellow ground, creating a grid that feels part architecture, part interface. The surface is developed through layered flats and hand drawn marks, with occasional drips that interrupt the geometry and keep the image in motion.
187 cm x 95 cm
Oil, acrylic, and spray paint on stretched canvas.
This large scale work combines figuration, botanical forms, and recurring symbolic motifs within a vertically staged composition. A central female figure rises through a field of blue, with the body partially entwined by stems, blooms, and eye forms that function as both ornament and witness. The scale gives the figure a totemic presence, while the surrounding imagery keeps the surface active and unsettled.
Material contrast is central to the work. Acrylic and spray paint establish the broader atmosphere through washes, drips, and staining, while oil adds density, opacity, and slower, more worked passages across the figure and selected details. Vertical runs remain visible across the surface, creating a sense of exposure and movement, as if the image is still in flux.
Between Witnessing And Longing
54 cm (H) x 40 cm (W) Oil on stretched canvas. Sightless Bloom is a self portrait painted in oil with palette knife pressure and layered brushwork. The surface is worked and reworked, leaving drag marks, scraped passages, and dense areas of pigment that give the face a softened, shifting edge. Cool blues and inky blacks sit behind the figure like a tide, while sharp, acid greens break through the ground in small flashes.
Circuit Garden
54 x 40
Mixed media on stretched canvas
Structured abstract composition built from stacked blocks, repeated symbols, and diagram-like line. Fields of teal, cobalt, lilac, and warm pink sit against a dominant yellow ground, creating a grid that feels part architecture, part interface. The surface is developed through layered flats and hand drawn marks, with occasional drips that interrupt the geometry and keep the image in motion.
Gold leaf accents punctuate the composition as small points of brightness, functioning like signals or nodes within a larger system. The work moves between machine logic and organic play, where hard edges sit alongside soft transitions, and pattern becomes a kind of visual language.
Gallery
Gallery of independent canvases
