The Spring Series was created within a concentrated period of time, allowing each painting to inform the next. There is a shared rhythm that moves through the work, as if each piece is part of a larger conversation about renewal, light, and the quiet unfolding of the season. Working in this way allowed the ideas to develop naturally, without interruption.

The visual language for this series emerged through my appreciation of Japanese woodblock prints. I was drawn to their balance of simplicity and structure, as well as their ability to suggest depth through layering rather than heavy detail. That influence guided the compositions, particularly in the way branches, space, and atmosphere are arranged across the surface.

Using wax as a medium allowed me to build layers of transparency that create a sense of looking through the painting rather than simply at it. The branches become veils—partially obscuring and partially revealing what lies beyond. This interplay between foreground and background creates a quiet depth, encouraging the viewer to slow down and take in the subtleties within the work.

More recently, I began introducing birds into the compositions. They are not meant to be immediately obvious or central to the image. Instead, they exist as small, quiet moments—elements to be discovered over time rather than announced. Their presence adds a subtle sense of life and movement within the stillness of the scene.

This approach reflects my own experience while painting in the studio. Often, I hear birds long before I see them, their songs filtering into the space and becoming part of the process. The birds in the paintings exist in much the same way—felt as much as seen—offering a gentle reminder of the natural world just beyond immediate view.