STATEMENT OF WORK

I’m drawn to what feels both fierce and mysterious, yet simultaneously soft and tender, even vulnerable – like something once familiar, but forgotten, lost to time. I accept and seize ambiguity in my work, straddling the space between concealment and revelation, pleasure and pain, desire and disgust. As something that begins to take shape, quietly, in parallel with the contradictions that echo the fractures of bonds left unfinished, splintered, dismembered by one's own shifting ambiguities that emerge when we begin to inhabit and shape our own existence in interaction with an utterly hostile environment. From the very moment we begin to dwell within our own territories, to carve meaning into our being, there are misfires, failures of sense-making. We find relief through either overflow or void, excess or absence caught in a path that knows no stillness. And in that sway, the image of identity begins to distort—no longer the steady silhouette of a self, but the trembling outline of a body that claims to be the physical expression of misaligned systems, both internal and external.

Damaged goods, broken bodies, lost along uncertain paths, entangled in the ceaseless struggle with a poetic space that holds them—not by embracing, but by scattering them. An open wound that spills the experience, turned inside out, distorted, reversed—irrevocably shattered.

Along this rugged, tumultuous path, I’ve chosen and abandoned painting repeatedly—as it offers transient consolidation, resists established modes of comunication, and wounds as much as it reveals. It endures as a catalyst—emerging through motion, friction, absence, refusal and desire. An unresolved trace, persisting outside conclusion, remaining deliberately unresolved, which sustains the flame of inquiry and drives this unyielding search for what lies beyond the boundaries of what exists past the familiar, further still into the unknown. Abandonment comes from the fear and pain that this very search inflicts—the kind that forces one to face and step into what one does not wish to see, or worse still, what seems impossible to look at and bear, but making it unfeasable to look away.

For me, painting arises from a need to fill an absence, to address a void, something that’s missing. It becomes a way of unveiling an ineffable place while simultaneously discovering hidden layers to what is alread known. I understand matter as something that has been present since the very origin—an ever-existing presence, preceding and sustaining all form, constantly shifting, acquiring new meanings and purposes. I’m particularly drawn to surfaces and gashes that act as thresholds, linking matter’s inner and outer dimensions, ofering fleeting glimpses into both, while holding vast, untold stories both factual and poetic.