What drives my painting is compression rather than observation.

It is compression rather than observation that drives my painting.

The starting point is often an everyday situation – walking, waiting, being together. In the painting, these moments are not documented but condensed. Memory, perception, and emotion overlap into a single, concentrated situation.

Reduction, open space, and the omission of detail are tools of this compression. Movement appears suspended, time compressed. The paintings do not show how something was, but how it feels when many such moments converge into one image.