Introduction

“Solid and delicate, formed by gravity.”
“Paint is my thinking medium.”

I have always been an artist deeply passionate about my work. Continuously developing my skills, I find endless fascination in paint as a material. Over time, I’ve cultivated a somatic “hand feel” for the medium, becoming acutely aware of its subtle variations. This intimate connection with paint allows me to engage in free, creative play, forging a unique relationship with my work that leads to the creation of something entirely new.

Painter-Painting Relationship:

For me, creation is a dialogue with the material and the painting itself—a relational relationship that fuels my curiosity and sense of adventure. This process is something that arises from deep within, unable to be forced or hurried. I surrender to it, allowing the paint to become an active agent. To truly connect with the material, I must enter a state of openness, where I can observe and listen to it, cultivating a deep understanding and patience. Only then can I wait for that moment of clarity when a new brightness emerges from the canvas.

Visual Communication/Organic Process:

How do you feel deep inside when you’re doing something without knowing exactly what you’re doing? For me, it’s a beautiful moment, a fragile and uncertain instant when I’m trying to reach the essence of something in real-time. In that moment, the material binds language, words, and thoughts together. The paint flows and moves within my mind and language, pushing and mixing, enveloping and traveling across the canvas and within itself. It spills and escapes over the edges, allowing me to remember the past while simultaneously opening up a possibility for the future. This is what I live for—the culmination of long-term practice and technical skill that brings me to a state of emotional reaction while painting.

My process is deeply rooted in surprise, where natural forces like gravity and mass play a crucial role. The colors flow, splash, and move, lines stick together and flow out at the edges, folding and writing their own stories like beach sand rippling under the force of water. This naturalness in my work stems from my deep connection to the forces of nature.

Painting Theory/Philosophy:

I don’t consider myself to be modern or postmodern. Postmodernism’s critique of everything and modernism’s rigid structures do not, in my view, contribute to a good life. My art is not conceptual, cold, sarcastic, ironic, or overly intellectual. I’m not a fighter; instead, I seek to nurture and encourage through my work.

My painting has transitioned toward abstraction, where the material itself takes center stage. I create the initial layout and set the conditions, but then I step back and allow the painting to develop itself. Over time, the visible gestures of the painter have diminished in my work. The strokes of the brush are no longer prominent; instead, the forces of nature—like waves or wind—shape the action. The paint pushes forward, guided by gravity, while I fade into the background, becoming a supportive observer. This approach allows me to experience the same peace and humility I feel when immersed in nature.

When is a painting most authentic? Perhaps when an abstract form emerges on a flat surface according to the laws of matter—a work that is rich, full of material, and shaped by nature. This natural glide and movement within the lines of the painting offer a comforting imagination, providing security and reassurance in uncertain moments.