statement

My work is an uncompromising record of an internal descent. I do not paint to create a narrative, to provide clarity, or to resolve the raw weight of the energies I carry.

The studio is a nocturnal, isolated space where I confront deeply personal states of anguish, mourning, and euphoric opening. I integrate my own rituals and practices into my process- using darkness immersion, sensory deprivation/amplified sensation, meditation, and cannabis as a somatic amplifier and sacred entheogen. I use specific, high-intensity sonic musical soundscapes- the visceral, bone-deep frequencies that sit inside grief- not as an exit strategy from the pain, but as an absolute structural force that holds me within it. This sonic gravity expands the capacity to touch the exact architecture of raw emotion, pouring it directly into the physical matter of the canvas. I am interested in work that carries a certain frequency or energy, and not so interested in beautifying, clarifying, or over articulating. It’s more of a sensitive essence, or a whisper of something.

The work operates through a hybrid language, oscillating between visceral materiality and fluid figuration within the same body of work. The human forms present in my abstraction are intangible and unresolved, as energetic or astral forms.

This same unorthodox approach dictates the physical environment of my exhibitions. I am interested in creating satellites of experience designed as temples which offer brief, limited-time experiences that lean into the void. These spaces are not built for promotion, passive viewing, or social interaction in the conventional sense. By leaning into sensory deprivation- such as experiencing paintings in immersive dark spaces lit by candles, complete silence, no shoes, with embedded soundscapes- I am opening a doorway for expansive portals of perception. Restricting technology and the sensation of being watched is an offering for a more intimate and sacred awareness within time and space. Granting a rare temple to expand into ones own internal weavings, and spaciousness to fall into the inner labyrinth.