ABOUT → THE JOURNEY | THE PALETTE | THE PRACTICE | THE WORK | THE WHY
My subjects are flowers, figures, landscapes. The natural world as it overlaps with memory, ancestry, and the quiet we are all quietly starving for.
I am drawn to edges – the place where a form begins to dissolve, where light overtakes outline, where what is painted and what is suggested become indistinguishable. There is something in Monet’s refusal to fix the world in sharp focus that I recognise deeply: the belief that a painting does not need to declare itself to be felt. That softness is not weakness. That what hovers at the edge of visibility can carry more weight than what is fully shown.
My current series, Hoa – Vietnamese for flower – is where everything converged. Women and botanical forms, inseparable. These figures do not stand apart from nature: they emerge from it, half-submerged in bloom. A face suggested beneath petals. A silhouette dissolving into leaves. The lineage of Mucha is there: that tradition of the female figure entwined with botanical ornament, beauty and nature as a single form, but emptied of decoration, stripped to its essence, rendered in two blues and silence.
You think you see a woman. You think you see a flower. You are not wrong about either.
I trust the viewer’s eye to reconstruct what is hidden and complete the meaning.
A painting, to me, is not finished when I put down the brush. It is finished when someone looks at it and finds something I did not know I had placed there.
ABOUT → THE JOURNEY | THE PALETTE | THE PRACTICE | THE WORK | THE WHY