Artist Statement
My work examines the relationship between the body and constructed space. Figures are pared down and treated as structural elements within the composition rather than portraits. Identity is secondary to posture, weight, and placement. Chairs, walls, and architectural divisions function as organizing systems, establishing geometry, containment, and proximity — shaping how figures relate to one another.

The figures often occupy moments of stillness. Their gestures are restrained, their movements implied rather than enacted. What matters is not action but duration — the way a body settles into a chair, leans against a wall, or holds itself within a room. These arrangements create a sense of suspended time, where something has either just occurred or has yet to unfold.

Space is compressed and flattened, emphasizing surface and color over depth. This flattening resists narrative resolution and instead foregrounds arrangement — who sits, who leans, who remains. Color operates atmospherically rather than descriptively. Large fields establish psychological conditions that oscillate between intimacy and distance, stability and imbalance.

These paintings propose the interior not as backdrop but as structure — a framework that holds presence, tension, and quiet in equilibrium.

Below are several recent examples.