My work begins with the desire to make sense of experience through form. Over time, that search has moved away from description and toward a more distilled visual language—one built through structure, tone, space, and the relationships between forms.

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Earlier work drew more directly from observation, the figure, and from Cubist ideas of shifting perspective and fractured space. Those concerns remain part of the foundation, but the more recent paintings move further toward reduction. I am less interested in describing a subject than in discovering the underlying structure of an image and the emotional resonance it can carry.

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The paintings develop through a process of searching, adjusting, and stripping away. Planes intersect, tonal passages shift, space compresses or opens, and an image gradually reveals its internal balance. What remains is not intended as an explanation of the world, but as a way of holding something felt, remembered, or intuited—something that resists language but can still be recognized.

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Across the different series, I am looking for a sense of presence: a balance between order and ambiguity, tension and stillness, construction and atmosphere. The work is less about arriving at a fixed meaning than about creating a space in which perception, memory, and feeling can meet.