My work begins with openness rather than fixed intent. I enter the surface without a predetermined outcome, allowing gesture, pressure, and material response to shape the direction of each painting. Rather than planning composition in advance, I work through a process of attention—responding to what appears, disappears, and resurfaces as the work develops.

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Layering and revision are central to my method. Paint is built, interrupted, and partially removed, creating shifting spatial conditions where earlier decisions remain active beneath what is visible. This slow accumulation allows tension and balance to form gradually, rather than being imposed.

I am interested in painting as a space of ongoing negotiation—between control and release, structure and erosion. Cyclical movement emerges not as a motif, but as a working logic: gestures return, shift, and reconfigure across the surface over time.

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Rather than resolving meaning, I aim to keep it in motion. Each work holds a state of becoming, where observation, material resistance, and repetition create an open field for reflection. In this space, painting becomes less about conclusion and more about sustained attention to transformation as it unfolds.