My painting practice is grounded in the proposition that one cannot make sense of the world all at once. This sense of fragmentation of visual, conceptual, and emotional constitutes the foundation of my approach to image-making. The works often take the form of composite paintings: fragmented tableaux, collaged mise-en-scène, or visual assemblies reminiscent of multiple overlapping windows on a computer screen. They incorporate a hybrid of painting genres and application techniques, enabling shifting registers of representation to coexist within a single picture plane. Rather than producing didactic or narratively legible images, my aim is to develop a vernacular of pictorial world-building that resists resolution.

Each painting is constructed through a logic of assemblage, wherein discrete visual elements must achieve a kind of emotional coherence for me as the maker even if that coherence remains elusive or unreadable to an external viewer. In this way, the work resists linear interpretation, operating instead through a personal system of affective filtration and visual balancing.

At its core, my practice reflects a position of passive spectatorship in relation to the contemporary world, a sense of disempowerment or paralysis in the face of social, political, and ecological precarity. This position informs both the tone and the content of the work. The paintings often contain sub-textual references to trauma, fantasy, memory, power, and systems of abuse, subjects that surface not as explicit commentary, but as persistent undercurrents.

The imagery I employ originates from diverse sources: online media, personal archives, found photographs, historical painting, and the detritus of visual culture. Often, an image remains in my mind for an extended period, sometimes years before being reactivated through painting. Encounters with older works, studio materials, and associative memories generate a continual re-mapping of intent, technique, and composition. The act of painting becomes a recursive and cumulative process in which motifs may be revisited, distorted, or rendered illegible through formal manipulation. I am particularly interested in the tension between stylistic mimicry and dislocation.

Many of the works employ genre-specific techniques to invoke or allude to pre-existing modes of painting, while simultaneously disrupting those conventions through juxtaposition, fragmentation, or erasure. In this sense, the work constitutes a mimesis of mimetic strategies: a filtered and critical engagement with the languages of painting itself.

Ultimately, the paintings function as repositories of unresolved imagery, a menagerie of form, reference, and painterly gesture. Visual elements are treated as components or tokens within a larger, unstable system. Their assembly is less about constructing meaning for an audience than it is about achieving an internal logic: a way of negotiating and reprocessing the visual noise of the world through the act of painting.