I paint what appears
Gestures accumulate until forms, presences and relationships begin to emerge.
Watercolor on paper, applied with a bobinsana stem, 2026. Professionally framed anti-glare acrylic.
A stick of bobinsana became my brush.
Rather than deciding where each mark should fall, I surrendered much of the composition to chance. Pigment, water, pressure, and the irregular surface of the stem determined their own gestures. Marks accumulated into two fields—one blue, one green—each composed of countless small encounters.
The work became an exploration of the tension between control and surrender. Every mark could have landed elsewhere. Every movement contains the possibility of another movement, another rhythm, another composition that was never made.
As the forms developed, I felt the familiar impulse to resolve them—to add the gesture that would make the painting feel complete. Instead, I stopped.
That restraint became part of the work.
The unresolved spaces allow the composition to remain alive: not a finished answer, but a field of possibility. What interests me here is the moment when intention gives way to emergence—when the work begins to organize itself and the artist’s role shifts from directing to listening.
Selected works |
Selected works |
Watercolor on paper, 2026. framed to 15.5” x 19” anti-glare acrylic
Applied with a bobinsana stem, the work emerged through repeated gestures, chance, and restraint. Blue and green fields accumulate independently, each mark shaped by pigment, water, pressure, and the irregular surface of the plant.
The work explores the point where intention gives way to emergence — when the artist stops directing and begins listening.
The work begins with gesture
Repetition, movement and accumulation create fields from which forms sometimes emerge — figures, organisms, structures, presences.
From the Studio
