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 and rotations in my work embody transformation, revealing time as the invisible yet necessary dimension underlying everything that unravels and happens in our surroundings. I draw on nonlinear understandings of time found in Eastern, Indigenous, and ancient cosmologies, as well as philosophical ideas of recurrence and ritual.
Underlying my approach is a minimalist appearance that is not merely aesthetic but ethical, shaped by the principle of least action—a concept from physics that describes how systems evolve along paths that minimize energy, effort, or resistance. This idea resonates with my search for clarity, precision, and the elimination of excess in form. Through light, color, circularity, and repetition, I seek to create contemplative experiences that suspend time and bend its pace. My work becomes a site of temporal awareness and latency.