Left at the Edge

(2025)

Method.

My painting practice is built on the tension between architectural structure and traces of the body.

I build backgrounds using complex mixes of dry pigments and transparent mediums, aiming for dusty, matte surfaces with a strong internal geometry. These aren’t atmospheric surfaces — they resemble stone, ash, fabric. I work on wooden box panels because geometry is essential to me — not only the frame of the painting, but the object itself.

I paint gestures separately on raw canvas. Blurred or sharp, these marks are always consciously positioned. I cut, fold, or leave edges raw — so that each form becomes both a trace and a construction.