STATEMENT
I make paintings that read like architecture and behave like bodies. Overhangs, supports, slabs and openings guide the eye, creating constriction, congestion and a sense of pull. What appears to be a load-bearing structure is also a material surface that contains, resists and can yield.
On canvas, I build up dense impasto layers of oil paint. On paper, I alternate between layering and uncovering: I scrape and cut with a scalpel, lift layers and tear sections away. Layers of paper can peel away further than intended. The way they yield alters the integrity of the surface and helps shape my next intervention.
In some works, a sealed pocket of pigment lies beneath the surface. Here, the pressure of the enclosed material meets my intervention from outside. A cut opens the pocket; the paint flows out, its path shaped by pressure, gravity and chance. The act of uncovering simultaneously alters the structure it reveals. The previously enclosed material helps shape a new spatial order.
I am interested in how load and intervention alter what provides support, what is held, and the relationship between inside and outside. Within the painting, body and architecture emerge from the same material conditions; their relationship changes with each irreversible intervention.