THESE WORKS ARE LAYERED IN RESIN- WHY?
The application of resin introduces a reflective barrier that both preserves and distances the painted surface. Layers remain visible yet suspended, evoking the way landscape is experienced from above—held in view but physically and emotionally out of reach, shaped by memory as much as by observation.
RECENT WORK
2025 2026
::: VUVUZELA :::
Acrylic, ink, metal leaf and resin on canvas, light oak veneer frame.
60 cm x 50 cm.
£495.00
Some places stay with you long after you've left them. For Elliott, Cape Town returns not as a single image but as a collection of sensations: the constant call of vuvuzelas during the 2010 World Cup, the intensity of the light, the warmth of the air, and the extraordinary presence of Table Mountain rising above the city.
Rather than recalling the landscape as it was seen, this painting holds onto how it felt to be there. Layers of colour and expressive marks carry the energy of the city and the quiet permanence of the mountain, where movement and stillness exist side by side.
For Elliott, painting becomes a way of returning. Memory shifts and changes over time, but through paint it is possible to revisit a place—not as a record of what was there, but as an emotional landscape, shaped as much by feeling as by geography.
::: ARTURO :::
Acrylic, ink, metal leaf and resin on canvas bespoke black 4 cm frame.
100 cm x 90 cm.
£1250.00
Asiento de Arturo (Arthur's Seat)
This painting found its title only after it was complete. Elliott had not set out to paint Arthur's Seat, yet the landscape had quietly found its way into the work.
While studying for her art diploma, she spent time in Edinburgh during the Fringe Festival, supporting friends who were performing while immersing herself in the city's galleries, museums and creative energy. Those experiences settled over time, becoming part of her visual memory rather than a conscious subject. The painting emerged intuitively, allowing remembered places to surface without intention.
When the work was finished, Elliott's closest friend—who had shared many of those Edinburgh memories and now lives in Spain—looked at the painting and immediately said, "That's Arthur's Seat." The title remained, becoming as much a gift as a name.
The painting reflects the way memory can inhabit the creative process without announcing itself. Places we have lived, walked and absorbed often remain with us long after we leave them, quietly shaping the work we make. In this sense, Asiento de Arturo becomes more than a landscape; it is part of the artist's own narrative, where personal experience, memory and place are woven together so completely that they become inseparable.
::: FENIX:::
Acrylic, ink, metal leaf and resin on deep box canvas light oak veneer frame.
60 cm x 90 cm
£795.00
Fenix (Phoenix)
Some landscapes are too immense to understand at the time. Elliott first encountered the deserts of Arizona and the Grand Canyon when she was a young cabin crew member, remembering the dry heat, the vast distances and the deep reds and ochres of the rock. She also remembers the tour guide cheerfully announcing that the temperature was hot enough to fry an egg on the hood of a car—a detail that has stayed with her as vividly as the landscape itself.
Only later did she begin to appreciate the scale of what she had seen. The immensity of the canyon, the ancient strata carved over millions of years, and the extraordinary silence of the desert became memories that continued to gather meaning long after the journey had ended.
Rather than recreating a view, Phoenix recalls the emotional weight of that experience. Rich layers of colour evoke sun-baked earth, weathered stone and endless horizons, while the painting reflects the way memory deepens with time. Some places reveal themselves long after we have left them, returning not as perfect images but as enduring impressions that quietly shape the way we see the world.
::: VIC FALLS:::
Acrylic, ink, metal leaf and resin on deep box canvas black painted oak veneer frame.
60 cm x 90 cm
£795.00
Vic Falls
Vic Falls is inspired by Elliott's memories of travelling through southern Africa. The journey was filled with contrasts: five-star hotels where brown water ran from the taps, the warmth and generosity of the people, rich red earth, violet canopy jacaranda trees in bloom and landscapes that seemed to stretch endlessly towards the horizon.
The painting reflects the aerial view that has shaped much of Elliott's work. Looking down from the aircraft, rivers, roads and changing colours formed abstract patterns, revealing the scale and beauty of the landscape in a way that could only be seen from above.
Rather than painting Victoria Falls itself, Vic Falls captures the feeling of travelling through the region. It is a memory of immense landscapes, shifting light and the lasting impression of a place whose beauty remained long after the journey had ended.
::: ON TOR :::
Acrylic, ink, metal leaf and resin on canvas, black painted oak veneer frame.
60 cm x 50 cm.
£495.00
On Tor
On Tor marks a return. After years of travelling the world and carrying memories of distant landscapes into her paintings, Elliott's move to Exeter brought a new encounter with place. A visit to Dartmoor revealed a landscape that felt every bit as compelling as those experienced much further afield.
There is a quiet gravity to Dartmoor. Its ancient granite tors rise from the moor with a sense of permanence, shaped by time beyond memory. Elliott is drawn to their deep, weathered surfaces, where dark stone holds light in unexpected ways, and the land feels both powerful and contemplative.
Rather than describing a particular view, On Tor reflects the atmosphere and presence of the moor. Rich, dark, earthy tones and layered marks evoke the enduring character of the granite, where landscape is experienced as something elemental—silent, timeless and deeply rooted.
On Tor brings the journey full circle. It suggests that the landscapes which shape us are not always the most distant or spectacular. Sometimes they are the places we come to know later, discovering that they belong to us just as profoundly as those carried home from across the world.
2019 -2024
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