Work
5 themes inform my practice:
2. Reactivation instead of reconstruction
3. Meaning at the margins
4. Intuitive and embodied artistic practice
5. The image as a primary carrier of knowledge and memory
If I were to distill my practice into a single question, it would be this:
In a
time when meaning is often fractured or flattened and sensory overload
eclipses inner perception, can markmaking reinstate symbolic imagination
as a valid mode of knowing, reorienting our relationship to the environment,
the ancestral, and the yet-to-be-revealed?
The Aperture
My work emerges as a disciplined attempt to access the superconscious through a deliberately narrowed aperture. Rather than remaining passively open to the infinite, I choose to engage through a focused point of entry, refining my ability to interpret and not merely absorb. This decision marks a shift from mystification to experimentation, from passivity to creative precision. Let’s call it an aperture
Experimenting with media
I am not following the pursuit of a singular, resolved artwork. Instead, I am generating a living body of gestures, forms, and signals—each a speculative fragment in a larger inquiry into what it means to be human. The aim is not to create finalities but to generate velocity and vitality. Creativity here is not a perfected output, but a spiritual practice, an ongoing energetic state. It is not finished and set aside.
Painting as a metaphysical engine
In this practice, paintings are not objects but proposals—portals that open space, collapse time, and reorganize perception. They simulate truths we cannot otherwise articulate with language or linear thought. Painting functions as a metaphysical engine: it duplicates, echoes, remembers. It transforms the formless into form, the invisible into trace.
For longform lovers:
At the core of my practice is an interest in knowledge that cannot be fully articulated or archived. I work against a Western-centric understanding of knowledge as written, rational, and informational, and instead engage with forms of knowing that reside in the body, the subconscious, and deep-time collective memory.
These are forms of intelligence shaped by environment, repetition, carried across millennia through adaptation. The symbols that populate my work, spirals, constellations, biomorphic forms, and recurring feline figures emerge intuitively through sustained making and material engagement. Over time, these forms have developed internal relationships, interacting across works as elements within a shared symbolic ecology. The resulting world appears playful and intuitive, but subtly allows questions about transformation, death, rebirth, and continuity.
Material experimentation is central to how this world takes shape. Encaustic wax plays a key role due to its unpredictability. Working with wax requires constant adjustment to heat, timing, and resistance. The material trains the body to respond instead of to plan, producing knowledge through action. Pigment, metal, abrasion, and surface interventions extend this logic, placing materials under stress to observe what persists, mutates, or disappears. In this way, the studio becomes a site where knowledge is generated somatically rather than intellectually.
Alongside studio work, I am expanding this symbolic world through LUX, an evolving body of shared references, and visual research developed through conversations, studio visits, and exchanges with other artists and creatives in the local community. This growing constellation functions as a living system, shaped by proximity and dialogue.