my practice begins with the belief that materials remember. linen, paper and pigment carry their own histories, with each mark recording what has passed through the surface. i work through layering, removal and disruption, allowing the material to determine what remains

painting articulates what cannot be resolved through language. rather than describing or explaining, the work holds unresolved states, where meaning is carried through surface, gesture and trace

the work develops through emergence and erasure, shaped by deliberate and surrendered gestures. forms are built and reduced, leaving evidence of time, pressure and revision

what remains is not a depiction, but a residue — a record of process and time

the materials remember.
the residue remains.