Structure and Fragment
My paintings often begin with an interest in structure—lines, planes, fragments, divisions and the relationships between them.I am interested in what happens when recognisable forms are reduced and rearranged. A structure may suggest architecture, machinery, a landscape or an interior space, but it does not necessarily remain tied to a particular object. Instead, it becomes a fragment that can carry associations of its own.This allows the painting to exist somewhere between recognition and abstraction.
Memory Rather Than Representation
Memory is an important part of how I think about an image.I am less interested in reproducing a place exactly than in the fragments that remain after an experience has passed. A remembered space is rarely complete. Certain forms, colours, surfaces or arrangements remain while others disappear.My paintings develop from this tension between what can be remembered and what can no longer be clearly identified.
The resulting spaces are often incomplete or ambiguous. They invite the viewer to construct a relationship with the image rather than simply recognise it.
Order and Disruption
There is a continuing tension in my work between order and disruption.Geometric structures and organised forms provide a sense of stability, while irregular marks, layered surfaces and unexpected colour shifts disturb that stability.
I am interested in the moment when a structured image begins to break apart—and when fragments that appear disconnected begin to form another kind of relationship.For me, abstraction is not about removing structure. It is about allowing structure to become open-ended.
Colour, Surface and Space
Colour is not simply used to describe an object or create decoration. It helps establish the atmosphere and internal movement of a painting.I often work through layers, allowing surfaces to retain traces of earlier decisions. Marks may remain visible, disappear beneath another layer, or reappear in altered form.This accumulation creates a sense of depth that is not necessarily physical. It is a depth of memory, time and visual experience.
The Viewer
I do not want every element of a painting to have a fixed meaning.A painting can suggest something without explaining it completely. I am interested in leaving enough space for the viewer to bring their own memories, associations and interpretations into the work.
What I hope remains is not a single answer, but a sense of having encountered a space that feels familiar and unfamiliar at the same time.
An Ongoing Practice
My approach to painting continues to evolve through observation, experimentation and experience.The subjects and visual forms may change, but my interest remains in the relationship between structure, memory, material and perception.
Each painting becomes a way of testing how much can be communicated through fragments—and how much can remain unresolved.