Bio​

 

My work examines how contemporary culture processes fear, belief, and memory. Drawing from found images and stills from commercial horror and science-fiction films, I isolate quiet, uncanny moments and reshape them through subtle digital distortions. These fragments become unstable pieces of shared cultural memory, familiar yet psychologically unsettled, acting as stand-ins for lived experience.

 

​I then translate these images into oil paintings, using the slowness and material presence of paint to reclaim images born in speed, mass reproduction, and screen circulation. My work considers how cinema now performs tasks once held by religion and folklore, offering secular myths, simulations of transcendence, and rehearsals for fear, death, and the unknown. The paintings operate between rational and irrational systems, where beauty meets estrangement and evidence blurs into belief. They become a memory of a memory of a memory; a picture of a picture of a picture.​

 

My background as a carpenter and fabricator, constructing objects for museums and archives, informs the structural clarity, restraint, and material sensitivity of my practice. My paintings draw from the art-historical lineages of Rembrandt, Sickert, Magritte, and André Breton, as well as post-photographic realism, while engaging theoretical frameworks from montage (Eisenstein) to the punctum (Barthes).​

 

Ultimately, my work asks how images shape our emotional and existential world: how we use them to fear, to believe, and to approach the void.