l am fascinated by repetition. I look at forms and question how I can replicate them to create angular relationships that expand into imagined architectural landscapes. These tectonic explorations of space become embedded within gestural abstract compositions: an open dialogue between organized visual systems and raw emotional expressions. 

My process begins with action painting: a spontaneous, intuitive and deeply gestural translation of my state of mind on canvas. What follows is an iterative negotiation between rigid and loose rendering: evaluating what elements are brought into the foreground, pushed in the background or floating in a liminal space. Defining dimension within organic forms sets the foundation for building depth, and transforming the painting into an environment the viewer can step into. This is emphasized by the vivid, interchangeable use of color and light, both functioning as tools to overwhelm one’s inner state and attempt to unlock the sublime. The deconstructed architectural elements are embedded into the fluid ground of the painting, creating moments of tension and release between these two complementary forces.

I am drawn to the contradictions that emerge throughout this process. Hard edges imply permanence while gestural marks suggest movement and instability. Carefully organized forms create order, while spontaneous marks and color disrupt it. Rather than resolving these oppositions, I allow them to coexist and reshape one another.

My background in architecture is not only an influence to my painting practice; its presence is integral and inevitable. These two disciplines constantly inform one another, forming a symbiotic relationship which comes to life on canvas.