Invitation to slow down

Time operates as both material and subject within my work. It accumulates, recedes, and re-emerges through layers of surface and mark. In recent paintings, I return to fragments of earlier drawings and compositions—some dating back to 1976—reintroducing them as active elements within new structures. These works do not begin anew; they continue. In this sense, the paintings are not fixed objects, but ongoing processes shaped across decades.

This approach is grounded in a philosophy of recycling rather than re-creating. Previously unused or discarded elements are reactivated, forming a generative framework through which new formal relationships can emerge. What was once set aside becomes integral, transforming earlier moments into present ones. The work, therefore, holds multiple temporalities at once—past decisions embedded within current gestures.

The paintings extend my investigation of chaos and structure. Intricate linear systems are layered over gestural abstraction, often incorporating underpaintings that originate from earlier works. This layering compresses time, bringing distinct periods of practice into direct dialogue. The result is a surface that feels both immediate and historically embedded—simultaneously unfamiliar and recognizable.

Repetition within the work establishes rhythm, but it also marks duration. Lines extend, intersect, and dissolve, activating spatial depth while reinforcing a sense of continuity. These compositional strategies, informed by both organic and constructed forms, reflect a sustained engagement with pattern as a temporal structure—one that unfolds gradually rather than instantaneously.

In many ways, the work is about time—about slowing down, about returning, about allowing something to evolve rather than replacing it. This stands in contrast to the speed of contemporary visual culture, where images are often consumed and dismissed in moments. These paintings resist that immediacy. They require duration.

To encounter the work fully is to engage in an act of sustained looking. The viewer is invited not to resolve the image, but to remain with it—to observe how it shifts over time. In that shared space, the painting continues to unfold. Time is not only embedded within the work; it is experienced through it.