My work is built through repetition. Marks accumulate, overlap, and disappear, leaving traces of what was once there. I experiment with Japanese Gansai watercolors, handmade pastel pigments, acrylic gel, and wax, building delicate or transparent layers with varying textures. I also use stencils, cutting organic forms into vinyl or using ready-made shapes, filling them with paint or gel medium, and pressing them again and again. Shapes cut from stencils pass for brushstrokes, but up close they reveal a more self-conscious, delayed materiality: the gesture is first drawn with a blade, then pressed onto the surface. At some point the surface begins to hold something which is not exactly movement, but the moment when something is still becoming, or already beginning to dissolve.

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