This body of paintings moves between large-scale formats—some exceeding two meters—and more intimate works. A restrained palette unfolds, dominated by Payne’s grey, a recurring presence throughout the artist’s practice. Abstracted architectural forms intertwine with foliage and organic shapes, evoking a quiet sense of nostalgia, as if memory itself were slowly taking shape.
Trees and forests recur throughout the artist’s work, forming a persistent presence. Organic elements—such as leaves dipped directly into paint—are used to shape the foliage, allowing the forest to emerge through touch and gesture rather than representation.
Mountains are another recurring motif in the artist’s work, rooted in her passion for hiking. Working with Indian ink or black acrylic, she often employs leaves and other organic elements to shape these mountain forms, allowing the landscape to emerge through natural traces and gestures.
This body of work was born from the artist’s time in New Caledonia. Her palette drifts through dreamy hues, where pinks, blues, and yellows intermingle. The landscapes appear lush and abundant, yet they are also permeated by a gentle nostalgia, as if suspended between presence and memory.
Through monumental works such as the six-meter-long triptych Far Away from the Blue Mountains, the artist immerses the viewer in dystopian landscapes where she explores the fragile boundary between imagination and reality.
With a poetic gaze, the artist explores urban scenes through a limited color palette, allowing the city to appear quietly charged with absence.