I have focused on the Western tradition of depiction, of offering a singular, convincing vision of the actual. For me, painting is not about personal emotions or past experiences.
I've found slow drying oil paints to be ideal for my slow working method. I find working with images of human figures sufficiently challenging and rewarding to the same degree.
I aim to explore beyond the creation of three dimensional illusions on the painting surface, to sculpt the actual with every single brush stroke. Rather than recording the phenomenon of images registered on the retina, paint is the actual object. My approach involves investigating the relationships between various textures within the picture. My use of impasto does not have so much to do with the actual texture of skin or the surfaces of objects; rather, it is the result of layer upon layer of reconstruction including shaving off overly-textured surfaces. As a result, a finished painting is my repeated and accumulated attempts on the picture plane to create images animated by the tension between the visual and the tactile.
