Bio & CV

I work within the language of Cubism, not as a historical style, but as an open structure through which perception can be reassembled.

The figure in my paintings is fractured and rebuilt through shifting planes, layered color, and interwoven geometry. I am drawn to the idea that we do not experience life from a single, stable vantage point. Perception is cumulative — emotional, spatial, spiritual — and the surface of the canvas becomes a field where these dimensions converge.

Color establishes both tension and harmony. Warm and cool passages press against one another, while geometry anchors movement. Birds, musicians, luminous figures, and coastal expanses recur throughout the work — not as illustrations, but as presences. They function as structural elements and as quiet symbols, suggesting interior life within constructed space.

My process begins with discipline: drawing, mapping, structural decisions. Yet structure alone does not complete the work. Painting requires attentiveness — a willingness to release control and allow the image to unfold beyond initial intention. I approach the studio with both rigor and receptivity. There is a point in the process where construction gives way to discovery, where the painting begins to guide itself.

For me, this posture of listening is essential. Creation is not an act of dominance but of participation. The work develops through an ongoing dialogue between order and surrender, geometry and gesture, intention and emergence.

Over decades of sustained practice, I have sought to continue the investigative spirit of modernism while allowing space for contemplation within structure. Cubism, in this sense, becomes less about fragmentation and more about integration — a means of holding multiple dimensions of experience within a single visual field.

I hope the paintings invite sustained looking. They resist a fixed perspective, encouraging viewers to enter slowly, to move within the planes, and to discover their own relationship to the shifting space.