When the eyes close and open again, the world vanishes for a split second.
A pause so brief that it escapes awareness, enough for the mind to breathe.
In that instant, vision rests. The image dissolves.
The mind reorganises itself, and prepares for what is next.
The world returns clearer, sharper, slightly renewed.
We spend part of our lives inside these interstices, small blackouts woven into perception.
They take nothing from reality: they allow it to exist.
My work follows the same process. It arises from pauses, erasures, hesitations: moments when vision withdraws and meaning can be rebuilt.
I paint the interval between seeing and understanding.
The moment when the image disappears long enough to become true again.
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Beauty, is charged with doubt, shadow, and contradiction.
I am drawn to what resists clarity: the unstable, the unresolved, the in-between.
I am interested in the grey area where forms are not fixed and meaning remains open.
What matters to me is not the polished surface, but what disturbs it: the cut, the rupture, the pressure inside the image. Violence, in this context, is not literal but poetic — a force that reveals rather than decorates.
The image becomes imperfect, unstable, alive.
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Color is not visible in the absence of light; it is an event of perception, produced by light reflected from matter and interpreted by the eye and brain.
In darkness, the material remains unchanged; what recedes is the act of seeing.
From a conceptual standpoint, color can be understood as a latent condition: a potential that becomes present only through light.
Darkness does not erase color; it suspends it, leaving matter intact while withholding appearance.
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Memory selects what remains.