My work begins with observing emotion in others. I am drawn to fleeting expressions—tension, fatigue, vulnerability—and I paint from those impressions rather than from direct likeness. During the process, the faces that
emerge often
resemble
me, though
this is not
intentional.
I understand this resemblance as an inevitable result of using my own body as a physical reference while responding to the emotional states I
encounter in
other people.
The paintings
become a
convergence
of external
observation
and internal
memory portraits that exist somewhere between self and the other.
Using layered, expressive brushwork, I construct faces through repetition, revision, and erosion. Color departs from naturalism to convey psychological presence rather than representation.
These
works
function
less as
portraits of
individuals
and more
as emotional archetypes.
