Artist Statement

My work engages the language of Cubism as an evolving structure rather than a closed historical movement. Through fractured planes, interlocking geometry, and layered chromatic fields, I reconstruct the human figure as a site of shifting perception.

I am interested in the instability of viewpoint — how experience is formed through overlapping emotional, spatial, and interior dimensions. The surface of the canvas becomes a field where these perspectives converge. Geometry establishes order, while gesture introduces movement and breath. Warm and cool tonal relationships create tension and equilibrium within the constructed space.

Recurring imagery — luminous figures, musicians, birds, and coastal expanses — operates both architecturally and symbolically. These presences inhabit the fractured environment without dissolving into it, suggesting continuity within fragmentation.

The studio process is grounded in discipline: drawing, structural mapping, and compositional rigor. Yet the work ultimately requires attentiveness beyond control. There is a threshold in each painting where construction yields to discovery — where listening becomes as important as intention. This balance between order and surrender is central to my practice.

Over decades of sustained inquiry, I have sought to extend the investigative spirit of modernism into a contemporary search for coherence and presence. In this context, Cubism becomes not merely analytic, but integrative — capable of holding multiple dimensions of human experience within a unified visual field. I have been influenced by the works of El Greco, Rembrandt, Velazquez, and the artists involved in the evolution of Cubism, Cezanne, Picasso, and Braque. 

The paintings invite sustained looking. They resist a singular vantage point, encouraging viewers to move within the planes and encounter the work as an unfolding spatial and contemplative experience.