Statement

In some works, I am moved by complex feelings. That complexity is what is interesting and fun to work through—an untangling that happens on the canvas.

Whether working from a real-life subject or something moving me internally, I don’t distinguish much between feeling and seeing; both prompt me to make marks. When working from life, I concentrate on areas that excite something in me. I trust that I can gradually build up these moments into a coherent painting, whether it stays true to the original reference or shifts into something else.

I always hope that the finished work feels alive and in flux—that what it is never quite comes into focus and can reveal different facets over time. I want my paintings to hold a density of experience, built up through an accumulation of marks over many sittings.

I am captivated by the way a two-dimensional surface can compress something multidimensional—how a single painting can hold time and space within its frame. The entire history of its making exists in one moment, one place; a neat block of thought, ready to be unpacked gradually by the viewer.

In today’s world, where AI-generated imagery and digital media dominate, I see painting as an irreplaceable form of human connection. A painting carries the presence of its maker, inviting the viewer into a direct, tactile experience—something to return to, to slow down with, and to see anew each time.