GHOST OF WHERE I WAS
(LONDON · UK · 2024)
PAINTING
"GHOST OF WHERE I WAS / APPREHENSIVE WITH THE HOME AS I WAS" is an ongoing painting project focusing on my colour-blind perception of the colour red and my exploration of age regression.
My practice is rooted in the interplay between perception, intuition, and the materiality of painting. As a color-blind artist, my relationship with color is inherently subjective, shaped by a unique visual experience where distinctions between red, brown, pink, and green dissolve into a spectrum of ambiguity. This perceptual limitation becomes a generative force, allowing me to explore color as a site of tension and transformation rather than
a fixed or stable element.
My process embraces both spontaneity and resistance. I begin with intuitive, child-like gestures—marks that are raw, unfiltered, and irreplicable. These initial acts of creation are then subjected to a cycle of destruction and reconstruction, where layers accumulate, collide, and erode. The canvas becomes a palimpsest, a record of time and process that resists the notion of a definitive endpoint. This iterative approach mirrors the fragmented, nonlinear nature of memory and experience, where meaning is continually deferred and renegotiated.
I am drawn to the paradoxical coexistence of purity and grotesquery, a hidden world where beauty and unease intertwine. My work seeks to evoke this duality through a visual language that oscillates between the delicate and the abrasive, the lyrical and the chaotic. The surface of the canvas often bears the traces of vandalism—graffiti-like gestures that disrupt and destabilize, challenging the viewer to confront the tension between creation and destruction.
In this way, the canvas functions as a kind of journal, a space where ideas, emotions, and visual experiments are recorded and reworked over time. It is not a static object but a dynamic field of inquiry, reflecting the ongoing process of discovery and transformation that defines my practice.
My work is informed by a wide range of influences, from the raw immediacy of street art to the layered complexity of avant-garde aesthetics. These references serve as points of departure rather than direct inspiration, helping me to explore the boundaries of abstraction and figuration, the familiar and the uncanny. Ultimately, my practice is an attempt to capture the ineffable—a glimpse of a world that exists just beyond the edges of perception, where the grotesque and the sublime converge in a single, fleeting moment.
