From across the room these paintings look like quiet monochromatic rectangles. The frameless presentation gives the impression that the color fields extend beyond the rigid geometry that contains them.
Move closer and the quietness breaks apart. What looked uniform is many overlapping layers of paint, each made with a different set of marks. The density is enormous. What seemed still is in fact full of movement. A single painting can look like two different works depending on whether you're standing three meters away or thirty centimeters.
In that gap between distances, something that seemed obvious reveals itself as layered and complex once given time. The analogy extends beyond painting: assumptions flatten what patience would deepen.
Color alone fills these surfaces. Meaning forms from within the viewer, drawn up by color from wherever their life experience has taken them. In this sense the painting is always about the person standing in front of it. Color operates here as a sensory technology, met in the body before it reaches the mind.
The investigation has expanded from individual paintings into immersive installations where color, projected light, and low-frequency sound fill a room. In these environments, two color systems merge: the subtractive color of paint on surfaces and the additive color of digital projection, slowly animated and shifting. The primal bodily act of painting meets its technological counterpart. In both forms, the work waits for the viewer to slow down to meet it.