Painting, for me, is an act of translation—an attempt to give form to something that resists being put into words. Employing equal parts spontaneity and intent, my paintings explore varying levels of abstraction of human and animal forms, sometimes teetering on the edge of the recognizable, other times dissolving into raw, gestural marks. The process usually begins with a more or less vivid idea, though its final form is always uncertain. I work spontaneously at first, allowing intuition, chance, and movement to dictate the initial composition. From there, I engage in an ongoing negotiation of form and color—sometimes guiding the work, other times following where it leads. The image may shift entirely or retain glimpses of its origin, but part of the process is discovering what it wants to become. Each piece evolves like this through a series of iterations until I feel that it touches on something that I find interesting enough. I draw inspiration from graffiti, urban decay, and the raw energy of subcultures like Black and Death Metal. Painters such as Pollock and Bacon influence my approach to form and texture, while classic painters like Rembrandt and Vermeer have always had a heavy influence on my use of light and contrast. My process is medium-driven, shifting between ink, acrylic, oil, and digital 2D/3D work, allowing the material itself to guide the outcome. With a background in commercial illustration spanning over 15 years, I navigate fluidly between digital and traditional media, using each as a tool to explore new ways of expression. Ultimately, my work is an attempt to bridge instinct and intellect, order and disorder—an ongoing dialogue between creation and destruction, searching for a language that is both ancient and immediate.
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