Loops Of Return

This body of work emerged through a continual return to images that resist resolution. Due to constant movement — recurring travel, changing places of living, and a prolonged sense of impermanence — a painting initiated in one moment often becomes estranged from me only days later, as though it belonged to a former psychological or perceptual state. Each new environment, encounter, or emotional condition subtly reconfigures the way I perceive the image, causing every return to the work to operate simultaneously as continuation, interruption, and renewal.

As a result, the paintings do not evolve through a linear or predetermined process, but through accumulation, fragmentation, withdrawal, and repetition. I frequently recycle unfinished canvases, and drawings, travel photographs, discarded paper fragments, and residual traces of earlier gestures. Tearing, staining, dripping, obscuring, and exposing the surface become intuitive methods of registering instability, not only within memory and perception, but within the act of image-making itself.

Over time, I began to understand this inability to fully stabilize the image not as failure, but as the conceptual and emotional core of the work. The painting ceases to function as a fixed composition or autonomous object, and instead becomes a mutable field — an open system continuously reshaped by duration, displacement, and accumulated experience.

Within this process, circular forms began to emerge almost compulsively, as a way of organizing dispersed fragments and nonlinear states of thought. For me, the circle is not symbolic of harmony or completion, but rather a cognitive structure: a form without fixed origin or conclusion, capable of holding simultaneous movements between interior and exterior worlds, memory and landscape, personal experience and larger ecological or cosmic systems. At different moments these forms resemble vortices, orbital systems, ripples, cartographic structures, or tree rings — temporal inscriptions that record growth, erosion, repetition, and transformation across both microscopic and planetary scales.

Through these works, I attempt to reassemble what has been abandoned, interrupted, or forgotten, constructing images in which multiple temporalities and perceptual realities coexist. The paintings ultimately function as recursive loops — unstable visual environments in which meaning continuously shifts, reorganizes, and unfolds through the movement of the viewer’s gaze.