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3D

Choreographed Chaos

In this body of work, contrast and chaos are not just aesthetic choices—they are the foundation. The tension between control and randomness, light and dark, structure and disarray is what drives the composition. I’ve always been fascinated by how opposites interact—not as enemies, but as forces that define one another. With Choreographed Chaos, I wanted to bring that dialogue into physical form.

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The colorful 3D elements scattered across black and white backgrounds represent more than just material or color—they are small decisions, gestures, interruptions, and rhythms. At first, they may appear messy, unplanned. But every piece is intentionally placed. I spend a lot of time balancing what feels like randomness with just enough order to create visual rhythm. I want the viewer to ask: Is this chaos, or is it something more?

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The use of duality—especially through the black and white canvases—is my way of framing chaos. White opens up space, allowing the colors to breathe, to pop. Black contains them, deepens their weight, and creates density. The same forms behave differently depending on the context, and that’s something I find powerful. It's the same "chaos," but it speaks in a different tone depending on where it lives.

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I’m interested in how our brains respond to disorder—how we try to make sense of things that don’t immediately present a clear pattern. This work invites that search. I don’t offer a resolution or a narrative. Instead, I present something open-ended, layered, and constantly shifting depending on where you stand or how you choose to look.

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The title, Choreographed Chaos, captures the paradox I’m aiming to express. It’s a reminder that even in what looks like a mess, there can be precision. Even in randomness, there is intention. This contradiction lives in the world around us—in nature, in human behavior, in thought. My work is simply a reflection of that tension, made visible through color, form, and space.

Mixed media (cork) on wood​ panel

87cm x 62cm

2017

The Weight of Arrangement

In The Weight of Arrangement, I explore how form can act as a quiet but persistent force. This body of work consists of three panels in which uniform elements are clustered into elliptical configurations—compositions The compositions that feel methodical, yet open to chance and that hold a tension between structure and spontaneity.

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My practice often centers around the balance and push/pull between opposing qualities: order and disorder, control and chance, repetition and variation, the singular and the collective. Though the elements I use are fixed and identical in shape, their placement creates a sense of movement —an invisible current guiding the placement, density, and rhythm of each form.

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I’m interested in how subtle shifts—spacing, density, proximity—can completely alter the experience of a composition.

While the work is abstract, it draws from the behaviors of natural systems. The arrangements emerge like quiet ecosystems: shaped by accumulation, proximity, and internal logic rather than imposed design. What results is not a depiction of nature, but a reflection of its sensibilities—its tendency toward both precision and unpredictability. I see arrangement not as decoration, but as an act of attention and care—where meaning emerges through placement, and energy through repetition.

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This process is meditative. It requires slowness and sensitivity to nuance. In a way, it’s about creating spaces where relationships between parts speak louder than the parts themselves. With this work, I hope to offer viewers a moment of stillness—a chance to observe how quiet decisions can carry weight, and how composition can mirror the systems that shape our world. You are asked to observe how small shifts in spacing, tone, and repetition affect the whole. In this way, arrangement becomes not just a visual act, but a conceptual one—where meaning arises through placement, and presence through relation. These works ask us to consider how things come together, how systems form, and how subtle forces shape what we see.

Mixed media (cork) on wood​ panel
87cm x 62cm

2022

Scattered Thoughts

Scattered Thoughts is an abstract exploration of the mind’s inner workings—a tactile representation of mental clutter, fleeting memories, and emotional fragments that drift in and out of focus. Composed of three panels, the triptych unfolds like a sequence of consciousness: a nonlinear progression of ideas, impulses, and reflections suspended in time. It echoes a temporal flow—past, present, and future—while also inviting viewers to interpret their own narrative across the panels.

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Each small, cylindrical piece—crafted in varied colors and arranged in seemingly spontaneous clusters—symbolizes a single thought or feeling. Together, they form a dense visual landscape that resists order while still revealing patterns of rhythm, repetition, and quiet harmony. The vibrant pigments evoke the emotional range of everyday experience—moments of clarity in cool blues, bursts of energy in bright oranges and yellows, and the grounding weight of earthy tones that hint at memory and introspection.

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The glossy black background serves as both a void and a mirror, emphasizing contrast while suggesting the silent space in which our thoughts take shape. It draws attention to the individual components and the shadows they cast—each one a fleeting idea made solid, given form and presence.

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As viewers move from left to right, they’re invited to interpret a personal journey: from chaos to cohesion, or from noise to stillness. The division across three panels mirrors the fragmented way we process the world—rarely in straight lines, but in overlapping moments, unfinished thoughts, and colorful contradictions.

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Scattered Thoughts asks us to pause and consider the beauty found within mental disorder—not as something to be corrected, but as something intrinsically human. It is an invitation to see complexity as a form of expression, and imperfection as a space for meaning.​​

Mixed media (cork) on wood​ panel

45cm x 45cm
2022

SOLD

Pigment and Pulse

An installation of seven chairs

In Pigment and Pulse, I use the chair as a stand-in for the human body — a familiar, intimate form that carries the weight of both presence and absence. The chair becomes a silent witness to the complex interior lives we all inhabit, bearing traces of memory, emotion, and vulnerability. Through the act of pouring pigment, I externalize internal states such as anger, anxiety, longing, and fleeting moments of joy, translating invisible feelings into tangible forms. Each work captures a flash of emotion made physical — a stain, a surge, a collapse — revealing the tension and fragility of being.

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The process of painting is deeply intuitive and bodily, allowing me to move beyond control into a dialogue with the materials and forces at play. I don’t premeditate the drips or dictate the flow; instead, I surrender to gravity, to accident, and to the fragile balance between control and release. This surrender opens a space where the chair is no longer merely an object, but an emotional vessel — marked and transformed by something unseen yet palpably felt. It becomes a metaphor for the human condition, simultaneously grounded and unstable, shaped by both external pressures and inner turmoil.

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This series holds space for contradictions: joy and unrest, stillness and movement, structure and dissolution. The result is a portrait of feeling — raw, imperfect, and pulsing just beneath the surface. It is a meditation on the ways we carry our emotional landscapes, often hidden but always present, inviting viewers to witness and reflect on their own internal rhythms. Through Pigment and Pulse, I hope to evoke a shared understanding of the complexity and depth of human experience, expressed through the visceral language of color, form, and chance.

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“Pigment and Pulse” is not just a title — it’s a philosophy. It speaks to a practice rooted in the materiality of color and the vitality of gesture. It’s about letting the process lead, letting the paint speak, and allowing energy to take form. In a world that often values precision and polish, this series insists on the messy, the physical, the felt. It invites the viewer to sense the beat within the surface — the pulse in the pigment — and to witness how even the most static objects can come alive.

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These titles of the chairs evoke specific inner landscapes and reflect how color becomes a language of feeling.

Acrylic on wooden chairs
2019

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