Following a creative childhood in Sweden, I began my formal training at a glassblowing college in Orrefors at age sixteen. While the course was designed to train factory workers, I was drawn to the material as a medium for art. Unfortunately, a diagnosis of repetitive strain injury meant that glassblowing was no longer a viable career path. However, my passion for the material remained, leading me to the UK and Surrey Institute of Art & Design (now UCA) to study 3D Design Glass. This experience expanded my technical knowledge and significantly broadened my creative horizons.

My art career took a 'slow burn' approach after university. I maintained a studio in Chiswick for a time, but eventually, the pressures of work and finances took over. As life progressed—bringing a home, marriage, and children—my creative window narrowed. Eventually, I carved out the space to return to my roots, enrolling in a garden design course. Working as a designer has challenged me to think simultaneously in 2D and 3D. My current plaster reliefs evolved from this process: I began looking at 2D garden plans and imagining them as 3D art. Today, my work is a continuous experiment with shapes, lines, and shadows.

The plaster reliefs are designed to play with light; the shadows they cast shift and transform with the passing day. My work explores the balance of 'organised abstract chaos,' using mould-making to navigate the relationship between positive and negative space. I view my practice as an excavation—I dig into the cast to reveal the intricate textures and lines buried within. By slowly exposing these sculptural contrasts, I create a landscape of form that invites the viewer to pause. My aim is for each piece to offer a moment of quietude and meditative calm.