My work explores the tension between erosion and repair, structure and chaos, permanence and impermanence. Engaging with utilitarian materials—concrete, construction detritus, and traditional art media—I seek to provoke a visceral response to the collision of these elements. Through the physical processes of building up and wearing down, my work captures the transient beauty found in decay and renewal.

Formally, I am drawn to the human tendency to seek patterns and align what we see with what we know. Within compositions that may appear haphazard, experimental, and physical in nature, I strive to define a balance—an underlying structure that emerges from disorder. Materiality and abstraction are central to my practice, yet the conceptual foundation lies in the intersection of temporality and environment, challenging conventional notions of painting as a medium. My approach is deeply influenced by what I term “urban wabi-sabi,” a reinterpretation of the traditional Japanese aesthetic that embraces imperfection, transience, and the interplay between damage and repair. Perhaps the most profound influence on my work stems from my years in war-torn Beirut and Beijing during the rise of the pro-democracy movement. Witnessing an ancient culture dismantled to make way for economic expansion left an enduring imprint on my artistic perspective. The memory of war zones, sprawling fields, urban streets, and neglected rural towns informs my visual language—each landscape a palimpsest of history, bearing traces of past and present.