My work begins with process rather than image. I build surfaces through repeated layering, covering, etching, erasing, and excavating, allowing forms to develop through interaction over time rather than from a fixed plan. I do not approach painting as the realization of a preconceived image. Instead, I treat it as an investigation into what becomes possible when time, materials, intention and chance interact. Underlying this process is an interest in how complex structures emerge and evolve through the accumulation of local interactions over time.
Color is not imposed as a predetermined expressive scheme. Instead, it emerges through accumulation, interruption, excavation, and revision as materials interact through layers, across the surface, and over time. Rather than serving as a starting point, color becomes a consequence of the decisions, interactions, and transformations that shape the evolving field.
I work with clay slip, oil and acrylic paint, oil pastel, and sumi ink, often using unconventional tools. These materials resist, absorb, redirect, and complicate decisions. Scraped passages, buried marks, exposed layers, and partially erased structures remain visible, allowing earlier states to continue shaping the present surface.
I am interested in painting as a temporal medium capable of holding traces of its own becoming. The paintings evolve through accumulation, interruption, revision, and interaction, allowing histories, patterns and relationships to emerge rather than resolving into fixed representation.