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My paintings are quiet drama of human presence. Inspired by the magic of theater—where words and movement reveal layered characters—I aim to distill that same intensity into a single, still moment. Portraiture becomes my stage, where silence takes the lead, and expression flickers through gestures, glances, and light.

Unlike theater’s unfolding action, my work captures a scene suspended in time—where beginning, climax, and resolution coexist. I often work in oil and tempera on experimental surfaces—hand-stretched linen, sculptural wood, stitched silk—prepared with old-world techniques like rabbit-skin glue and traditional gesso. These slow, tactile methods echo the layered emotional textures I seek: beauty within erosion, presence within absence.

I’m especially drawn to the sfumato technique for its ability to suggest inner complexity—soft transitions of light and shadow that hint at the unseen. Figures in my work emerge gradually: half-formed, dissolving, or rising against gravity. My style blends figuration and symbolism with emotional ambiguity—neither realism nor abstraction, but something suspended between.