My practice arises from the paradox of growing up in a seismic country, built on the latent possibility of destruction. I approach painting as a position to learn and analyse geography. I exercise this as an active slowness: an effort to actively unlearn the territory and look for new ways of organising it, according to my own measures.
I make visual essays that result in paintings, drawings, and hand-bound books as well. I am interested in fragments, folds, translucency and blurriness as mediums to create subjective narratives and fragile atmospheres, as well as a distance within the image. These become a collection of exercises around an observation or wondering, to which an answer appears elusive and untranslatable into language.