My practice unfolds within the realm of expanded painting, where the boundaries between painting, sculpture, and installation blur. At its core is a sustained investigation of circularity—not only as form, but as a way of thinking about time, space, and perception. I work primarily with bent plywood, shaping curved supports that recall the arc of an incomplete circle. These structures resonate with recurring visual motifs in my work: dots, holes, circles, spheres, ellipses, and gradients—each suggesting presence through absence, and movement through stillness.
More recently, my attention has turned toward time—not as a linear progression, but as a cyclical, fluid, and perceptual phenomenon. Gradients in my work embody transformation, revealing time not as a measure but as a continuous shift. I draw on nonlinear understandings of time found in Eastern, Indigenous, and ancient cosmologies, as well as philosophical ideas of recurrence and ritual.
Through a process that involves working with light, color, translucency, and repetition, I aim to create contemplative experiences that suspend time, bend its pace, and make its presence felt. My work becomes a site of temporal awareness—where time loops, folds, or crystallizes, and where the viewer is invited to witness duration, memory, and disappearance not as opposites, but as interwoven states of being.