My practice began within image-making, but gradually shifted toward painting as a way to approach experience before it becomes image.

The luminous forms that appear in my work — resembling dots, arcs, or distant celestial bodies — do not function as representations. They are perceptual anchors: minimal signals that allow the viewer to enter a field of experience.

Light, in this context, is not treated as a physical phenomenon, but as an internal condition — something that can emerge, expand, linger, or fade within perception.

Through layering, controlled opacity, and repetition, I allow subtle variations to accumulate into a spatial field. These processes are not only compositional, but temporal: they register duration, hesitation, and the gradual formation of awareness.

Material plays a crucial role. Mineral pigments, sand, and resin introduce weight, resistance, and sedimentation. The surface becomes both skin and deposit — holding traces of its own becoming, while diffusing and suspending light.

The work does not depict vastness, but proposes a condition of inward expansion — a space in which perception itself becomes visible.