Areas of Research

Light Mappings

Light Mappings traces the shifting behavior of light as it moves across built and natural forms. These works explore how illumination fractures, softens, and reshapes the spaces we inhabit or observe, from architectural interiors to snow-covered mountains. Whether through structured geometries or simplified organic contours, each painting maps a moment when light transforms the visible world into something briefly abstract, atmospheric, and alive.

Contemporary Cartographies:
Traces & Transformations of Knidos

This body of work is situated between the antiquity of the 4th century BCE and our contemporary moment, exploring how layers of history remain present in the landscape of modern-day Datça, Türkiye. Primarily created while in residence in Datça in the summer of 2025, the series takes the ancient city of Knidos, primarily Palaia Knidos (also known as Burgaz) as both subject and framework: a place where time, memory, and human presence intersect.

Aesthetic Primitive

The Aesthetic Primitive Series was created as a response to the drawings made on location during residency in Cappadocia, Turkey. I was very interested in the feeling of being held and contained within the ancient hand-carved caves. I noticed the curvilinear and organic forms of the walls and doors. It gave the feeling of being inside a warm, comforting space.

Layers of Practice

My work spans painting, drawing, and works on paper, often combining observational studies with layered, abstracted forms. I work primarily with oil paint, charcoal, and water-based media, using a restrained palette drawn from both natural pigments and historical color traditions: black, white, ochre, viridian, vermilion, and subtle tonal variations. The resulting surfaces are textured, atmospheric, and built through accumulated marks. Whether working on canvas, panel, or paper, I aim for a balance between structure and openness, where shapes shift between the architectural and the organic.

My process begins long before the studio. I walk, observe, photograph, draw, collect materials, and study the physical traces left in a place. Many works grow out of drawings made on location, sometimes with charcoal or walnut ink, sometimes with found sticks or improvised tools, or with traditional pencils and pens. In the studio, these studies evolve through layering, erasing, and reworking, becoming distilled translations of what I have seen and experienced. I move between precise geometric forms and fluid gestures, reflecting the tension between permanence and change that I see in the world around me.

At the core of my practice is an interest in how humans shape, experience, and remember our environment. Human presence appears not through figures but through marks: carved surfaces, built structures, overgrowth, erosion, shifting light. I am drawn to places where different timescales and logics meet — ancient carved interiors and archaeological ruins sit alongside modern streets, façades, and engineered surfaces. In some sites natural processes and weather reveal the slow accumulation of memory in material; in others the built environment itself becomes an instrument, bending, reflecting, and reframing light in ways that change how we experience the world. These interactions between history, material, and constructed space continually shift how a place is seen and understood.

Across all my work, I return to the shapes and surfaces that hold experience: the curve of a wall, the shadow on stairs, the hue of snow at dusk, the distortion of light underwater. Through painting and drawing, I explore how these moments anchor us in time while also slipping away. My practice moves between the ancient and the contemporary, the constructed and the organic, seeking connections that illuminate how we inhabit, remember, and care for the places around us.