Artist Statement

My recent large scale works on paper are sprawling and stylistically diverse compositions that combine drawing, painting and collage. I begin with a loaded visual reference, be it a page torn from a mid-century fashion magazine, an iconic film poster, or a test image used by tech companies. In some cases, these cultural artifacts are reduced to shorthand through a process of recontextualization, flattened into symbols of surveillance and control. Often though, they are scaled up and exploded, scribbled over and diagrammed. Due to the size of these works — similar to that of a projector screen or classroom map — and their sporadic concentrations of intricate detail, they require both a wide lens and close looking. My work is heavily influenced by the camera as a tool of capture as well as an agent of disruption. My practice investigates perception as an embodied, time-based experience. Rather than treating painting as an image, I approach it as a site that models how we encounter color, light, and atmosphere through the body. I question what a painting can hold and how it might function as a space for sensory awareness. In this way, my paintings become a tool for slowing down perception and making visible the instability, indeterminacy, and wonder embedded in lived experience.

Color is central to this inquiry. Shaped by light and duration, it operates as both a carrier of emotion and a metaphor for perception itself: never fixed, contingent, and shaped by time. Through a stain-based process, pigment moves across the surface until absorption, evaporation, and gravity assert their limits. These material thresholds echo perceptual encounters when light shifts and alters our field of vision, producing ephemeral experiences that are immersive and difficult to name. My practice as a painter has taught me how to see, not only through heightened sensitivity to color and light, but as a broader philosophy of attention. I’ve learned that time, commitment, and sustained looking reveal how perception is relational and shaped by circumstance.

The studio is a site of inquiry where painting becomes a way of thinking. Rather than working toward a fixed outcome, I allow questions to guide the process, responding to what unfolds materially. The paintings are traces of lived moments, grounded in real time and real processes, resisting illusion or simulation. The work invites uncertainty as a generative condition. Each painting becomes a record of looking, a space where perception remains open, provisional, and continually becoming.