Conditions matter.
I work from the belief that nothing we move through is neutral. The ways we see, live, learn, and relate are shaped by structures that often go unnamed but are deeply felt. My paintings begin there, inside environments that press, limit, misalign, or quietly govern what a body can be. Eschewing from personal narrative, the work attends to the conditions that make presence possible, strained, or unresolved.
Working across painting, sculpture, and installation, I examine how perception operates through color, surface, and material, attending to thresholds where visual recognition gives way to spectral sensing and bodily feeling. The work resists the assumption that seeing produces understanding.
Figures appear intermittently, sometimes clearly, sometimes as residue. They are not portraits or stand-ins, but sites where pressure registers. Color and form do not offer cohesion so much as interruption. Drawing from embodied memory and a private collection of ephemera, I develop compositions structured around internal tension rather than narrative clarity. Scenes of quotidian life are sourced and reworked through accumulations of thinly layered drawing and painting. Through opacity, density, and reflectivity, figures assert presence within domestic and architectural settings that remain unstable and unresolved. Limbs and faces surface briefly, not to invite identification, but to register pressure before dissolving back into the painted field. I use fragmentation, coded imagery, and shifts in palette to disrupt easy recognition and to slow perception. These strategies are not symbolic in the traditional sense, but rather ways of preserving complexity in spaces that tend to flatten it, allowing contradiction to remain unresolved.
My work does not ask to be decoded. But it asks to be stayed with, even in its turbulence. Meaning is not delivered generously, but negotiated over time, through proximity and attention. If the images feel unsettled, it is because they are shaped by conditions that are themselves unstable. My interest is in what persists inside those conditions, and in how looking might gather an affective weight that moves.