ABOUT

My practice examines how an image can be made while its author becomes increasingly difficult to locate. I work predominantly in black and white, layering calligraphy ink, oil pastel and acrylic on unprimed linen. The materials resist one another: ink repels oil, while scraping, smudging and indirect transfer create an unstable field that I cannot fully predict. I establish these conditions without determining the final image, then search the surface for connections, following and outlining forms that appear rather than inventing them.

The resulting paintings hover between abstraction and recognition, presence and withdrawal. Pale edges behave like reflected light within dense black fields, revealing forms without fixing their origin. I want viewers to repeat the search through which the works were made, assembling private associations from partial cues. Looking becomes a form of intimate trespass: an attempt to see through a surface that never fully yields.

My authorship remains unresolved. I author the conditions while the materials author what becomes possible. Labour becomes a way of remaining present in the work while receding as its stable source.