White Paintings
These white oil paintings on plexi and glass study light, paint, and shadow. The shadows cast by the work sometimes appear more visible and detailed than the paint, creating a challenge for the viewer as they visually come to understand the images, their shadows, and the space between the two.
This work examines the tension between presence and absence, inviting a quiet consideration of what remains when overt meaning is withdrawn. The images are edited, the surfaces are intentionally spare, textures understated, and forms reduced so that the viewer’s attention shifts from what is shown to what is felt. Rather than offering a narrative or a single point of entry, the work functions as a suggestion or an impression, a field in which personal associations and memories can emerge, allowing each viewer to complete the piece through their own experience.
There is an emphasis on materiality and the traces of process, suggesting history through ghostly images. Marks, seams, or slight variations in tone act as indexes of existence even if the origin is not fully revealed. This invites reflection on continuity and impermanence: how objects and gestures retain echoes of prior actions and how meaning accumulates in the margins.
At its core, the work proposes that ambiguity opens space for meaning. By resisting closure and resisting definitive interpretation, it allows for contemplation and plural readings. The restraint practiced here is not absence for its own sake but a deliberate strategy to foreground perception, memory, and the responsibility of the viewer to engage, imagine, and assemble significance.
