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: its compositional characteristics such as color, form, line, and texture. That is what brings us the emotional, mental, and physical experience; everything else is merely the occasion. The image is what matters most to me, and I don't consider a painting complete until every part is working in harmony.
I believe the future is made of fragments 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, and 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 and atmospheric character, representing 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 don’t see, yet it moves us in profound ways. Abstract visual art, conversely, is something we see but can never fully explain—and it, too, influences us deeply. I believe both music and visual art exist on spectrums of abstraction, and that some works are 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 strive 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 function 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 similar, and my goal in both realms is the same: to create something interesting, beautiful, and profound—something that functions as a cohesive whole and evokes a genuine response in the viewer or listener.