My practice is defined by an intuitive approach to painting. I use this medium as a channel to reflect on the phenomenological experiences of sight and hearing. Through abstraction I investigate how we access and interact with our immediate environment using these sensory receptors. Themes of perception, cognition, expression, and translation emerge in my work, introducing the human condition. I draw inspiration from elements that embody the notion of interference—such as camouflage, signal waves, meshes, grids, and stencils—to suggest the conscious and unconscious human filter.

My creative process involves an experimental engagement with materials, where methodologies intersect and evolve as the work progresses. Layers of interventions accumulate sequentially, disappear, and merge to reveal varying rhythms of work. Using a multiplicity of tools, I establish formal dialogues to bring forth structures and tensions that inform subsequent actions. Paradoxically, by imposing constraints, invoking serendipity, and maintaining an openness to potentialities, I navigate mastery and accidentality to resolve and create new visual problems.