2025 statement

My current work explores the expressive potential of colored pencils—not merely as drawing tools, but as vessels of pigment, akin to tubes of paint. I’m drawn to their immediacy and precision, and to the way they allow for subtle gradations of color that evoke planetary surfaces and atmospheric shifts.

Central to my compositions is the sphere: a form that is both universal and abstract. It serves as a visual anchor, a reference point that invites viewers to project meaning. The way color is applied—layered, glazed, and modulated—often leads the viewer to interpret these spheres as celestial bodies. This ambiguity is intentional. The sphere, in its simplicity, becomes a building block of abstract iconography, capable of carrying emotional and perceptual weight.

Color itself is my primary subject. I’m fascinated by how matte, opaque pigments can still appear luminous—how they seem to contain light, even when they do not reflect it. This paradox drives my exploration of perception: how color is seen, defined, and felt.

My process is shaped by a constellation of influences. Josef Albers’s belief that juxtaposed colors alter perception informs my approach to chromatic relationships. Mark Rothko’s use of layering and glazing inspires the emotional resonance I seek through depth and transparency. Robert Irwin’s spatial works—particularly his use of spheres and his treatment of light as color—have expanded my understanding of space and sensory experience. All three artists pursued abstraction as a language of communication, and I follow that path with my own materials and methods.

Each piece I create is a meditation on how color, form, and perception intersect. I aim to construct visual environments that are both intimate and expansive—spaces where viewers can linger, interpret, and feel.