My painting practice investigates abstraction as a means of translating lived experience into visual language. Rather than representing the external world directly, I work through an intuitive, process-driven approach in which perception, memory, and emotion are absorbed and reconfigured through paint.

I begin without a predetermined image, allowing the painting to develop through gesture, accumulation, and erasure. Marks are made, disrupted, and reworked, creating a surface that records time, movement, and decision-making. This process mirrors the way experience is internalized—fragmented, layered, and continuously revised. Meaning emerges through engagement with material rather than through narrative or representation.

Abstraction functions as a space of openness, where form is not fixed and interpretation remains fluid. The marks within my work operate as a personal system of signification: traces of presence that resist clear resolution. Painting becomes both an act of reflection and a form of inquiry, examining how internal states can be made visible without being illustrated.

I understand mark-making as a fundamental human impulse—an assertion of existence that spans from ancient visual traces to contemporary gestures. In this context, my paintings function as records of presence rather than declarations of meaning. They invite the viewer to engage with the work on their own terms, completing the exchange through perception and response.