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.
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.
My background in science, finance, and systems thinking informs my sensitivity to how complex structures emerge through recursive feedback, contingency, adaptation, and constraint across biological, ecological, geopolitical, and socioeconomic systems. In the studio, this translates into a way of working where no single gesture fully controls the outcome. Order develops gradually through local interactions and accumulated adjustments rather than centralized design.
I am interested in painting as a temporal medium capable of holding traces of its own becoming. Revision, erosion, and transformation remain active within the surface. The paintings become evolving fields of causes and conditions in which meaning develops through accumulated relations rather than fixed representations.