I create visual metaphors. Like a poet, I draw together fragments of human speech — spoken, whispered, mumbled, shouted, articulate and nonsensical — to weave from them something yet unseen: a breathing, centauric body. For me, painting is a universal form of writing, capable of being at once intelligible and enigmatic.

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The abundance of materials grants me freedom of action; it allows the work to unfold through different aesthetic languages, without binding it to a single mode of painting.

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I work through three strategies: chance, palimpsest and eclecticism. Yet my imagery is guided by Occam’s razor: I seek the point where the abundance of materials yields to the precision of a single, necessary gesture.

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The metaphor I create cannot be complete until it meets the viewer’s gaze, and even after this encounter, the story I set out to tell continues. For once an image has been set in motion, it cannot come to a halt; it is endlessly contemplated, interpreted and reimagined.