I began painting in earnest in 2021 as a counterpoint to my photographic work. At that time, I found myself craving something tactile, an escape from screen time, and a way to try and bring the painterly instincts I had been refining through photography over the past decade, into the medium of paint itself.

What started as a quiet experiment quickly evolved into a serious pursuit. Grounded in the language of Abstract Expressionism, my paintings are not observations of the visible world, but constructions born from emotion, color intuition, and internal logic.

I am interested in how chaos and control can coexist on the same surface, how the cohesion of an abstract painting can feel so tenuous, like it is hanging by a thread. These works often teeter on the brink of collapse, and yet, with enough pressure or patience, they can, if I am lucky, suddenly lock into place. That problem-solving aspect, the push and pull between chaos and resolution, is deeply fascinating to me.

My goal is not to make work that imitates my photography or critiques it. I see painting as its own universe, one that opens up space for new visual instincts, new emotional registers, and a new kind of expression.

“Both my photography and my painting are about constructing visual harmony from fragments, whether those fragments are pieces of the physical world or marks on a canvas. I’m composing a kind of emotional architecture, guided by intuition, memory, and balance. Like Diebenkorn, or Tuckson, or even Franco Fontana, I’m trying to create a visual language that feels sensed rather than read, something that holds meaning without needing to explain itself.”