My work begins with observation but is not bound by it. I paint still life, figures using familiar subjects—branches, vessels, florals and ballerinas—as a point of departure. While I maintain a practice of working from observation, studies, and memory, I allow the work to move away from what I see as the painting develops. I am not concerned with making it right; instead, I respond intuitively, allowing the materials to inform the painting. In this way, the work moves beyond description and into something less fixed, where image, memory, and gesture coexist.I approach each painting with the openness of an explorer. I don’t fully know where a piece will land, but through showing up consistently and working through uncertainty, the painting arrives at its destination. The process of creating is as important as the final outcome. Paintings often begin in one place but, through layering and revision, develop a variety of mark making that holds a sense of history—where earlier decisions remain visible and inform what comes next.My practice is rooted in experimentation and discovery. I work with a range of materials, including acrylic, gouache, latex, graphite, and collage—media that allow for flexibility and surprise. I often work directly on canvas or paper pinned to the wall, using non-traditional tools such as squeegees or oversized brushes, and at times altering my approach by working with my non-dominant hand, attaching my brush to an extension pole, or changing orientation of the painting. Each decision emerges through working rather than being predetermined, allowing the painting to develop through accumulation, disruption, and adjustment.Over time, my process has become more focused on the balance between control and letting go. Earlier work was more closely tied to observation and structure, while current work allows for greater openness and shift within the surface. I am increasingly interested in how little is needed for a painting to hold, and how far it can move from its point of origin while still maintaining coherence. This shift reflects a growing trust in the process itself.Ultimately, what keeps the work active is remaining open to whatever shift emerges in the process. I carry forward what I’ve learned, but avoid becoming fixed in it, allowing each painting to move in its own direction. This prevents the work from settling into something predictable and keeps it evolving.