My work explores perception as an active process shaped by the interaction between visual stimuli and the beholder’s cognitive and emotional systems. Working with repetition, subtle shifts, and controlled color relationships, I construct visual conditions that engage visual recognition, spatial perception, movement, and emotional response.

Color plays a central role in this process. Drawing from color theory and perceptual psychology, I am interested in how a color is experienced through its relationship to surrounding colors, light, surface, and spatial context. Through glazing and carefully controlled relationships of hue, value, and intensity, colors can appear to advance or recede, intensify or diminish, and shift as the viewer’s attention and position change. Repetition and spatial relationships guide the movement of the eye across the composition, allowing a physically static painting to generate an experience that unfolds over time.

Perception within the work involves an interaction between bottom-up and top-down processing. Line, color, form, and light provide immediate visual stimuli, while attention, memory, expectation, and emotional response influence how those stimuli are organized and interpreted. As viewing continues, relationships and subtle variations that may not be apparent at first gradually emerge. The physical painting remains relatively stable, while the experience of it continues to change.

Alongside these investigations, my practice is informed by Buddhist philosophy and the principles of meditation, observation, and mindfulness. I am particularly interested in impermanence (anicca), emptiness (śūnyatā), and dependent arising (pratītyasamutpāda). These ideas resonate with my interest in repetition, variation, and the relational nature of experience. Through repetition, I guide the human hand to follow seemingly absolute patterns, yet small differences inevitably emerge. What initially appears as sameness gradually reveals variation, challenging the idea of a fixed or absolute structure.

Rather than functioning as Buddhist symbols or illustrations, these ideas intersect with the perceptual concerns of the paintings. The recognition that experience is conditioned, relational, and continually changing parallels my interest in how visual experience shifts according to context, attention, and duration. Slow and intentional looking becomes important within this intersection: sustained attention allows difference to emerge from repetition and makes the changing nature of perception more apparent.

In this way, my work moves away from representation and instead operates through the fundamental elements of perception—line, color, form, light, and movement. Meaning is not fixed within the image, but emerges through the act of looking and through the changing relationship between painting and viewer over time.