My paintings emerge from an intentional lack of predefinition. I work intuitively, allowing each work to develop its own internal logic through process. I generate conditions of instability and gradually bring them toward form without fully resolving their tension.

What remains are frozen moments: states in which movement has halted and inscribed itself into the material. The process stays legible as trace, transferred into a static image that holds the transient rather than representing it.

I work in two parallel modes: oil on canvas, applied with a palette knife through scraping, accumulation, and erasure; and acrylic behind non-reflective glass, where pigment is allowed to flow and settle, with the final image only fully revealed once the glass is turned.

Across both modes, painting becomes a record of transition rather than representation: a negotiation between control and contingency, surface and depth, visibility and delay.