ARTIST STATEMENT
I think of each painting as a record of getting lost. In the studio, that means starting without a fixed plan, following one move with another, and letting wrong turns and surprises shape the path forward. Each decision shifts the direction of the work—some things are buried, others endure, and the surface carries that history. It’s a matter of staying with the discomfort of not knowing and holding that space until something resonant takes shape.
My paintings begin at the point where things stop making sense. When clarity breaks down, I work with what remains—the marks, colors, and relationships that gather into something that resists closure or representation. As detours and discoveries coalesce, bright colors move across muted ones, hard shapes overlap soft ones, gestures collide with geometries. Wandering becomes a generative practice and differences become assets. I intend for my paintings to continue unfolding after they’re finished, inviting viewers to slow down, dwell in what remains unresolved, and sense the hidden possibilities that appear when certainty is set aside.
I use abstraction to build provisional structures with forms that fell off-kilter, rhythms that shift, and connections that open up or unravel. It’s a practice of imagining alternative ways of organizing possibly—assembling what we could see, and by extension, a world we could share. In this sense, abstraction is part of a larger aesthetic force—one that works beneath the surface and organizes experience by iteratively and continuously structuring and restructuring what appears, what gets ignored, and whose presence registers.