Memory is fluid, continually reshaped by time, emotion, and imagination. My paintings explore this shifting territory, where fleeting atmospheres and half-remembered images are broken apart and transformed into the catalysts that guide my process. Each painting becomes a visual record of that investigation.

Before I begin a work, I immerse myself in writing, sketching, color studies, and material experimentation. This period of reflection allows me to understand the world of a painting before it exists, so that when I arrive at the canvas, my decisions can remain intuitive rather than analytical.

The act of painting is physical and improvisational. Large canvases begin on the floor, where poured paint is allowed to soak into raw canvas before layers of gesture and material accumulate over time. Dripping, tearing, scratching, burying, and rebuilding create surfaces where intention and orchestrated chance exist in constant negotiation—a collaboration between the artist, the material, and the unpredictable ways they respond to one another.

The resulting paintings occupy a space between abstraction and recollection. While they document my own search through memory and material, they remain open enough for viewers to project their own experiences, associations, and histories into the work. In that exchange, the paintings become less about fixed narratives than about the act of remembering itself.