2025

HORIZONS

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.

RHIZOME

A rhizome is a modified horizontal, underground plant stem that produces roots below and shoots above, used for storing nutrients and asexual reproduction. Unlike roots, rhizomes have buds and nodes, from which new plants can grow, enabling vegetative propagation.

These paintings present networks of suspended forms that hover between recognition and abstraction. They resemble branches, roots, or veins, yet their estrangement from any ground shifts them into another register - suggesting systems of relation, pathways of energy, thought taking form, or traces of memory and consciousness suspended in time.

By isolating these structures in luminous color fields, there is a sense of pause and stillness. They stage a moment of suspension-the wave collapsing into the particle-where familiar forms are removed from their context, transformed and encountered anew. In this way, they become less about representing the natural world and more about evoking, or suggesting, underlying patterns and unseen potentials.

Color amplifies this effect, not as ornament but as atmosphere. Violet, pink, blue, orange, and green transform the forms into radiant presences, each palette inflecting the mood and interpretation of the event. The paintings invite viewers to move slowly, to linger in the space between clarity and uncertainty, where meaning remains pointed but open ended.

Rather than offering fixed interpretations, these works ask us to dwell in ambiguity. They suggest that beauty and meaning can be found not in resolution, but in the quiet tension of things unmoored-forms the exist between worlds, between solid and ether.