My artistic practice is rooted in pushing the technical limits of materials and techniques. In my recent paintings, my aim is to create surfaces that are simultaneously flat and deep. In our current digital era, our relationship to images is largely mediated through the digital screen. These images, therefore, always possess an internal, luminous glow. To replicate this look, over the last four years, I developed a specialized ground of kaolin porcelain applied over stretched muslin and rigid wooden panels. The extreme porosity of the porcelain allows the water within my pigments to be absorbed into the ground, leaving behind a thin, velvety membrane of color. The high pigment density, combined with the thin application of color, allows light to pass through the layers and create a luminous glow from within.

This method requires high precision from the very first step. Because kaolin is fragile, the ground must be prepared in a measured formula and meticulously applied in thin layers to avoid microscopic failure points and cracking. The paint consists of pure, lightfast, high-chroma pigments mixed with water and a small amount of glue as binder. The luminosity of the final work depends on the whiteness of the porcelain; over-layering the paint risks dulling that internal light. To avoid this, I use color-mixing techniques derived from silk-screening, I apply the pigments in thin, deliberate layers to achieve a vibrant, matte finish.

Recently, my work has shifted from large-scale sculpture and installation toward a smaller, more intimate scale. I want to move away from the spectacle. There is power in the smaller moments of life. I seek to demonstrate that artistic power is not found in scale or grandeur, but rather in the profound, quiet, and tactile encounter.