She has come to recognise recurring ideas in her practice: certain structures and decisions return and begin to form their own logic. The L‑shaped composition, for instance, arises from a division between land and sky, with trees pushed to one side to stabilise the image. She has been repositioning these trees for some time, sometimes placing them in slightly uneasy positions to test how far the image can stretch.

The red figures are inspired by 17th‑century landscapes such as Hobbema’s, turning the figures into echoes of which she has encountered in real life, and this reference has become a motif in her work.

Light is also central, inspired by Asher Brown Durand and the ‘Luminists’ practice of painting the same view under different conditions, she has combined her own landscape with an additional light source taken from another photograph of the same place at a different time, working almost like a collage.