As a contemporary painter with modernist and formalist influences, my work celebrates flatness, color, and form. I believe in art for art’s sake, just as I believe in music for the sake of music. As a musician, sound itself is what’s crucial to me. As a painter, what matters is what we see, not any external meaning, but what is directly in front of us. The meaning lies within the painting itself, in its compositional characteristics, such as color, form, line, and texture. That is what brings us the emotional, mental, and physical experience; everything else is just the occasion. The image is what matters most to me, and I don't consider a painting complete until every part works in harmony.
The future is made with pieces from the past; therefore, my paintings are responses to what already exists. My influences span various art movements, including Abstract Expressionism, Color Field painting, and Minimalism. My work possesses the open, expansive quality of Color Field painting, combined with the heavily textured surfaces and gestural marks reminiscent of Abstract Expressionism, as well as the geometric forms and restrained color palettes characteristic of Minimalism. I’m also fascinated by the beauty and complexity of Roman and Egyptian frescoes, how, when we observe them carefully, they reveal a temporal dimension. I’m drawn to how these works have slowly decayed over centuries, with cracks and layers of color adding to their current state. This transformation creates a mesmerizing, atmospheric character that represents the passage of time and the inevitability of change.
Naturally, given my 15+ year career in music, I’m intrigued by the connections between painting and music, and how they inform one another in my work. Instrumental music, in particular, is an abstract experience: it’s something we cannot see, yet it moves us in profound ways. Conversely, abstract art is something we see but can never be fully explained, and it, too, influences us deeply. I believe both music and visual art lie on a spectrum of abstraction, with some works being more abstract than others. Still, what matters is their ability to impact us emotionally, mentally, and physically.
As a musician, when I’m improvising or composing, I aim to let the music evolve organically. I work with melody, harmony, rhythm, timbre, and register, giving equal importance to every instrument and compositional element; everything must work together. The same principle applies to my painting, where color, form, line, and texture take the place of musical elements. I see my paintings as extensions of my music, and vice versa. The conceptual processes are remarkably alike, and my goal in both worlds is the same: to create something interesting, beautiful, and profound that functions as a cohesive whole and evokes a genuine response in the viewer or listener.