One of the aims of my work is to destroy the generic aspect of an image and find a way to see directly - to have a first-hand experience. Often using photographs as starting point, I look for cracks, areas where representation can break down, disappear, dissolve, lose a certain coherency in order to open and transform the image. I work on making paintings that have a specific agency: that are able, through their heterogeneous, painted surface, to create visual experiences that trigger the retina into a physical act of adjusting, focusing and shifting around the work, so that a viewer becomes aware of their own effort in seeing.
In Still, the evenness of the nearly monochromatic palette and mark spreads over objects and seemingly empty spaces, creating areas of luminous ambiguity. These ambiguous areas force the eye to discern the surface - to strain to see - and slowly, certain lines, reflections, landscape forms emerge. This effort of visual discernment, applied across the painting, creates a tenuous image, where elements disintegrate, reemerge and vibrate, and the act of looking at a painted surface becomes a cognitive and perceptive experience of light itself.