In contrast to my focus on a single elemental structure, the line on series like "Procession", in the "Glass House" series, comprised mostly of paintings on paper and wood, I explore the addition and subtraction of matter as a compositional element. I use pure single-pigment paints, layered with progressive opacity, and shape the images by removing layers with various tools. The process involves the accumulation of time, layers, and the removal of matter in its application.

Painted largely from memory, over successive memories of the same space, I'm drawn to places that I inhabit for an extended period of time, witnessing their transformation and reorganization. I seek to understand what lies within and beyond things, underneath and above, and all the things that I know are there due to my multisensory and historical experience of a place, which flows into the gestures I develop.

During the lockdowns of 2020-21, I spent time drawing my home as if it were a landscape, fragile and transparent, mirroring the fragility of life itself. Here, the boundaries between drawing and painting dissolve even further, to the point where I sometimes don't know where to place them.

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Self-Misportraits

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