Twenty-five years working with corroding metal — shipwrecks at depth, bronze statues, buried artefacts — produced an intimate knowledge of how material transforms. Conservation and alchemy are the same impulse: to understand, slow, or steer what is already in motion.

That knowledge became the foundation of a painting practice unlike any other. Wire brushes from the hardware store. Brass, steel, and bronze dust applied directly to Chinese mulberry paper. The corrosion products themselves — what metal becomes in its most stable state — used as painting material.