My painting practice is built around tension: between control and collapse, intention and accident, containment and release. I work through layers—spray, trenching, blocking, covering, sanding back—allowing images to surface, disappear, and re-emerge like memories or ghosts within an environment that never fully settles. Figures, landscapes, and symbols coexist in unstable relationships: a face becomes a sky, a body holds another body, a church sinks into a field, a heart floats to the forehead. These are not narratives with solutions, but states of being caught between staying and moving on.

I’m interested in how pre-planned structures can still fail, and how failure might produce honesty. Paint is saved, limited, and reconsidered; movement, tone, and colour are increasingly deliberate, yet the work resists full obedience. This friction mirrors suburban experience, community versus escape, youthful desire against inevitable erosion. The paintings operate as illusory systems,wild yet caged, where order pretends to hold while something uncontrollable keeps slipping through.

By layering processes and images until they merge into a single, conflicted surface, the work reflects the impossibility of purity. The painting becomes what it must: a fabricated accidentalism, held together just enough to keep going.