Artist Statement

I understand painting as a language I acquire through play, experimentation, misunderstanding and continuous practice. Typically, I start from something I want to test. The material becomes an active participant, offering resistance, possibilities and unexpected directions. I let previous decisions remain visible: traces, interruptions and changes of direction are part of the work. Painting, in this sense, is a performative practice, something that changes as I engage with it.

This approach developed out of a longer engagement with participatory and material-based work. Before turning to painting in 2019, I worked with found objects, fragments and assemblage, creating situations for encounter and participation. Painting let me carry that responsiveness into a more concentrated, sustained studio practice: a space in which things can remain unresolved and where an idea can shift through material, repetition and time.

The paintings vary considerably. Some are fluid and ephemeral (D-04, 2021), built from poured, brushed or airbrushed layers (Rosy Fingers, 2026); others are dense constructions that develop slowly through repeated intervention (K-Drama, 2025). Rather than a fixed visual signature, I want to keep a field of possibilities open. Unpredictability is central to this: it lets a work hold a situation open long enough for an alternative to emerge. Surrounded by systems that reward fixed positions, quick conclusions and clear categories, I want to work in the opposite direction, making room for ambiguity, change and the coexistence of different states.