Artist's Statement

Colour is central to my practice: mineral reds, ochres, oxidized blues and greens, lime whites, deep earth tones layered to build atmosphere, rhythm, and emotional resonance. I am drawn to structured forms and fragmented geometries — compositions that balance precision with intuition. I want the work to feel alive within a space, to change through the day, to reveal itself gradually, and to bring a sense of stillness and warmth that deepens over time.

The process draws on Renaissance sgraffito, true fresco, and historic lime mortar techniques, but what interests me is not historical recreation, rather, synthesis and evolution. It is what these materials carry that no synthetic medium can replicate: a continuity with every surface humans have ever marked with intention, from prehistoric cave paintings to Renaissance chapels and weathered urban facades. To work with mineral pigment and lime is to participate in that lineage rather than simply observe it.

A lifelong study of the Dutch Golden Age painters, especially Rembrandt, Vermeer, and Frans Hals, has shaped how I think about light, surface, and emotional presence. I return to their work often, not to imitate it, but as a lifelong study of how material and atmosphere can create quiet intensity and emotional depth.