Statement

At the core of my practice is an interest in how humans shape, experience, and remember their environment. I am drawn to places where different timescales and logics meet, where ancient carved interiors and archaeological ruins exist alongside modern streets, façades, and engineered surfaces. 

My process begins long before the studio. I walk, observe, photograph, draw, collect materials, and study the physical traces left in a place. Many works grow out of drawings made on location. Sometimes these are made with charcoal or walnut ink, sometimes with found sticks or improvised tools, and sometimes with traditional pencils and pens. In the studio, these studies evolve through layering, erasing, and reworking, becoming distilled translations of what I have seen and experienced. I move between precise geometric forms and fluid gestures, reflecting the tension between permanence and change that I observe in the world around me.

Spanning painting, drawing, and works on paper, my work often combines observational studies with layered, abstracted forms. I work primarily with oil paint, charcoal, and water-based media, using a restrained palette drawn from both natural pigments and historical color traditions such as black, white, ochre, viridian, vermilion, and subtle tonal variations. The resulting surfaces can be textured and atmospheric, built through accumulated marks, or structured and precise. Whether working on canvas, panel, or paper, I seek a balance between structure and openness, where forms move between the architectural and the organic.

Human presence appears in my work not through figures, but through traces: carved surfaces, built structures, erosion, overgrowth, and shifting light. In some sites, natural processes and weather reveal the slow accumulation of memory in material; in others, the built environment itself becomes an instrument, bending, reflecting, and reframing light in ways that alter how a place is perceived. These interactions between history, material, and constructed space continually shift how a place is seen and understood.

Human presence appears in my work not through figures, but through traces: carved surfaces, built structures, erosion, overgrowth, and shifting light. Whether shaped by weather or by architecture, these marks reveal how material carries memory over time. Across my practice, I return to the shapes and surfaces that hold experience: the curve of a wall, the shadow on stairs, the hue of snow at dusk, the distortion of light underwater. Through painting and drawing, I explore how these moments register time and memory, revealing how material, light, and constructed space shape the way a place is seen, remembered, and inhabited.