Good afternoon, good morning, good evening, wherever you are in the world. I am Russell Tovey.

And I'm Robert Dian. This is Talkart. Welcome to Talkart. How are you today, Robert?

Today, Russell, I feel like I am dreaming. And I feel like I've woken up in a daydream.

Oh, lovely. Yeah. And daydreams have been something that I've beenoken up in a daydream. Oh, lovely.

Yeah, and daydreams have been something that I've been thinking about because of today's

guest painting.

When I think of her work, you experienced over the last few years in numerous exhibitions,

I think of a very sensitive artist with a wild, huge imagination.

And there's a real poetic quality, a kind of ambiguity that's embedded

in her meticulously rendered paintings. Through every paintbrush, her paintings gently weave

together impressions of space and structures with subtle narratives, often emerging through the

interplay of distinctive colours and carefully placed objects.

Now the scenes she depicts are not always real places, but rather reflect traces of memory and quiet moments of perception.

She never relies on kind of avert storytelling. They're not didactic.

They're very open actually and they have a kind of ambiguity,

like I said, but there's a real calmness and a quiet tension at the same time. I remember there

was an art historian called Marco Livingston who actually described this kind of hypnotic presence

in the work, a real, like, limitless possibility within her painting,

which I think is why I've been so drawn to them over the years. Now, right now, we are actually

sat within what feels like the real 3D version of her paintings. We are currently on the

summer terrace at Hermes in central London and it's the

most dreamy, colourful installation. Yeah, with nature and there's flowers and plants and

...