I do not begin with an image. I begin with a pressure — something not yet visible, but already present enough to demand a material form.
Every layer is both an assertion and an erasure. Paint accumulates history while scraping opens a path through it. The work becomes a threshold when these opposing movements can remain unresolved.
Abstraction, for me, is not distance from reality. It is a way to approach the part of reality that cannot be fixed by a name.