Artist Statement
I am interested in the different types of tensions that can be achieved within the picture plane and within painting as a condensed materiality staging the artistic process. On a canvas as on a sheet of paper, within geometric forms or accidental portraiture, I am searching for a breaking point where an image can be pushed to the edge of becoming too much of something, too ugly maybe or too busy, too blue even.

It is in these breaking points that I find paintings’ seductive and productive qualities, where my relationship to a thing can become one of reflexivity, a feedback loop of reflection and projection. More than a push-and-pull practice, I am interested only in the push. Within the confines of a surface area, I am creating challenges for myself, problems even, that I can then set out to solve. These limitations create a tension that is always radiating towards an outside, imagining what a painting could be or look like. In the painted hand-made ceramics, the volume of the vessel plays an important part in the image-making process, but the painted surface area alone is important,  an exercise in exploring the definitions of painting in a contemporary setting.

Painting then as a practice becomes a device, a platform which allows me to engage with subtle notions of everyday realities and painterly histories- projecting my anxieties, theories, and fallacies in visual form. This struggle contained within each painting is where an image has the ability to become powerful and complicated, all the tensions of visual attraction and repulsion playing out and in a random order, disabling the notion that there is only one entry point in which to interact with an painting/artwork.