STATEMENT OF WORK

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, trees become protagonists, light becomes narrative, and stillness becomes structure. 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. 

My paintings operate in the space between traditional still life/landscape painting and Surrealism. I depict a world where desire and anxiety play out in domestic and public spaces that are familiar, but not quite right. Recurring objects, motifs, and light that cycles from morning to night refer to a narrative structure, yet the introduction and conclusion are unclear. Instead, there are multiple points of entry and oscillations in subject and perspective. There is a sense of an eerie rewilding where plant-life, geological forms, glass and reflections illustrate the blurry boundaries between the human-made and the natural world. Traditional and art historical subject matter often underscores unreachable vantages, distorted windows and unclear twists and turns through time and space.