Working without predetermined forms or initial layouts, I approach my canvases as an act of faith, building surfaces through repeated applications of pigment, wash, and medium. My method relies as much on reductive marks, such as sanding and dissolving and wiping back, as it does on applying the paint to the canvas. Over extended periods, these interventions build up a complex and semi-translucent terrain, turning my studio routine into a monastic rhythm where my labor and quiet prayer become inseparable.

This approach demands a total surrender to the physical properties of the paint itself. By allowing each layer to settle before making the next mark, I work with a disciplined ethic that trusts in the passing of time rather than forcing a concept. My studio is a space of quiet devotion where every decision is made by the listening to how the colours shift and settle and respond with one another.

At the core of my work is an invitation to contemplative stillness. The finished paintings do not demand immediate attention; instead, they slowly reveal my continuous quiet conversation with God through their intricate variations in texture, density, and light, each meeting in its own time as it comes.