My paintings place the viewer inside the landscape — enclosed by ancient woodland, drawn toward light glimpsed through dark mass. The work is rooted in the borderlands of South Shropshire, a landscape carrying centuries of conflict, myth and literary resonance.

The Mortimer name runs through the work as both place and idea — an idealised, romanticised notion of landscape, historical and imagined simultaneously. This is the territory of Milton’s Comus, where the forest becomes a place of transformation, uncertain passage and half-remembered significance.