Approach & Methodology

My approach to painting is grounded in observation and structure. As with my work in photography and motion, painting begins with looking—carefully studying light, spatial relationships, gesture, and atmosphere before a mark is made. The canvas becomes a site of distilled perception, where visual information is reduced to essential form, tone, and rhythm.

Painting, for me, is not separate from my broader practice; it is foundational to it. The discipline of drawing and color theory informs how I construct space, balance composition, and orchestrate mood across mediums. Each surface is approached with the same intentionality I bring to art direction—considering context, material, and visual continuity while allowing the tactile qualities of paint to assert their own presence.

There is a dialogue between control and responsiveness in my process. Structural underpinnings guide the work, but the physicality of pigment—its density, opacity, and movement—introduces improvisation. This balance allows the work to remain grounded in craft while retaining immediacy and vitality.

Ultimately, painting serves as both origin and return point within my practice: a space where perception, material, and aesthetic philosophy converge. It reinforces the continuity between my still and moving images, anchoring them in a sustained engagement with light, form, and human presence.