“My paintings emerge slowly. Each piece begins with a figurative anchor. Never from a reference. Often a single glimpse of face or presence. Through dense layers of dry wax impasto, oil and pigments I rebuild it over time.

I like to treat my medium not as likeness but as terrain: fractured, solid, and compressed. The surface becomes a record of decision and hesitation, where form is repeatedly asserted and undone. Faces emerge gradually through impasto interruption, allowing abstraction to fracture and reconfigure my idea without dissolving it entirely.

Gold and palladium leaf sometimes is embedded into the paint layers rather than applied decoratively, functioning as a structural element which exposes the painting's construction. These metallic seams behave like fault lines catching light, breaking continuity, and denying the image a single, stable reading. The contrast between painted passages and reflective gold creates a shifting surface that changes with distance and light, forcing the viewer to oscillate between image and material.”