HORIZONS 2025

Philosophically, a horizon defines the limit of intelligibility—what we can think, imagine, or know. In phenomenology, it’s the ever-shifting boundary of consciousness. They exist on the horizon of meaning—half-remembered, half-invented, hovering in ambiguity.

The paintings operate within a shared conceptual field, exploring the limits of representation, memory, and perception through the lens of nature—not as lived ecology, but as a reconstructed echo. Each work engages with nature as simulacrum: a visual language that mimics organic forms while remaining estranged from their source. Branches, leaves, and shadows recur, but not as symbols of life cycles or botanical specificity. Rather, they hover in a liminal zone—neither rooted nor abstract, gesturing toward something once familiar, now displaced. These images resist narrative or symbolic closure; they are fields of relation, where meaning is suspended and endlessly deferred.

Within this framework, the visual and emotional registers vary. Some paintings are stripped back and coolly diagrammatic, functioning almost like notations or architectural ghosts. These compositions are defined by linear precision, spatial indifference, and atmospheric restraint. They appear as maps without territory—structural abstractions that simulate the natural world while withholding its sensuality. Other works within the series lean toward painterly immersion: darker, denser, more emotionally saturated. Forms soften and dissolve, surfaces blur, and shadows swirl with a sense of psychological undertow. These pieces feel less like systems and more like sensations—intimate, volatile, haunted by memory or loss.

Together, the paintings explore a range of ontological and perceptual conditions. Some behave like thought held in suspension; others like memory unraveling in real time. They chart the tension between form and meaning, image and atmosphere, structure and collapse. Throughout, the visual language remains consistent—entangled branches, fugitive shadows, gestures of nature divorced from ground—but the treatments shift, expanding the terrain of possibility. This body of work is not about nature per se, but about the threshold where perception falters, and nature becomes concept, dream, or distortion. It is a project grounded in instability: the flickering space between what we see and what we sense.