Statement
My work explores the layering of nature, memory, and constructed space. I consider
architecture, landscapes and domestic spaces as potential stages for psychological and
perceptual ambiguity, where forms dissolve and recombine. These spaces are not passive
backdrops, but charged sites where emotional resonance, environmental memory, and the
human desire to frame nature intersect. In my work, light functions as a narrative and
structural element. I am interested in the threshold between human presence and the natural
world. I consider light as a powerful form of gaze: familiar spaces and colors become
otherworldly in the transforming light of dusk or the cascading sunlight of late afternoon, and
a point of artificial light casts uncanny shadows and reveals anthropomorphic qualities of
objects. These human-made objects function as both anchors and intrusions. They are
symbols of control, care, or legacy, and are susceptible to overgrowth and shifting context.
A core strand of my practice concerned with interventions on space and perception. Drawing
on a Cubist sensibility of space while remaining concerned with illusionistic rendering, these
paintings construct environments with multiple vantage points, inviting the viewer to register not only the space before them, but also what exists behind, beside, or beyond the
immediate field of vision. Through reflections in windows and mirrors, digital interfaces, and
architectural elements that feel subtly incongruous, layered spatial realities are compressed
within a single picture plane.
The work attends to the blunt experience of space, how observational reality naturally
fractures and abstracts, depending on where one’s gaze settles. Desire operates within
these spaces: the impulse to feel whole through aspirational objects, recognizable interiors,
and routines, and the comfort they offer, is gently disrupted by interventions that render the
familiar slightly off-key. Murals, digital environments, mirrored reflections, and illuminated
interiors open onto secondary planes of consciousness, suggesting indirect spatial registers
and imperfect memory. For example, looking out from a lit room into night or encountering
stained glass present both in the constructed world of a video game and the constructed
space of a painting both underscore the doubling of perception where space exceeds itself in
everyday life