The sublime is the central motif of my practice. My intent is to create a cognitive viewing experience that invites reflection on the divine — through atmosphere, presence, and material. I explore the idea that the sublime can be encountered through nature, and that painting can hold a trace of that encounter.

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My process relies on a dynamic push and pull between intention and spontaneity. I work with poured inks, acrylics, and oil-based mediums, removing the brush to invite a more intuitive, responsive way of painting. The resulting gestural marks mirror the rhythms and mystery of the natural world — not as chaos, but as a reflection of purposeful design. Layering has become an essential part of my language — combining textured, textile-like surfaces with poured elements to create tension between stillness and movement.

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In recent years, my practice has deepened through a renewed focus on abstraction. I’ve stepped further away from representational landscapes to engage more fully with material, gesture, and surface as a way of capturing the felt experience of place. Poetry has also become a quiet influence — shaping how I consider silence, space, and rhythm in the work.

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My paintings aim to present landscape not as image, but as presence — a space where spiritual resonance might be felt. I hope to create moments where the viewer can encounter stillness, majesty, and the quiet clarity that speaks to something beyond the surface.