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There is an inherent duality in my work—a hidden threat beneath a facade of beauty. Nature, in all its magnificence, is indifferent, embodying the most deceptive facade of all. This same deception is echoed in the images of my childhood: they appear serene and beautiful, but beneath them lies the trauma that shaped me. This duality—beauty masking danger—defines both my life and my artistic practice.

Like nature, my paintings invite the viewer into a world that appears harmless, even beautiful, at first glance. However, beneath that surface lies a darker undercurrent. This facade, while visually compelling, conceals the emotional and psychological complexities within. I explore this tension in my work, using the natural world as a metaphor for the balance between beauty and threat, a concept that has its roots in my own childhood experiences.

Just as Edvard Munch painted the raw emotions he felt in the moment, my paintings serve as a space to process and conceal trauma. The difference lies in my method: where Munch’s emotions were overt, mine are hidden within the textures, layers, and natural forms that make up the surface of my work. For me, the process of creation is more about ritual than expression, a way to confront and transform memories without putting them on display.

When viewers react emotionally to my paintings—when they feel an inexplicable sense of unease—it is because they have been struck by the same duality that defines my approach: beauty, hiding something darker. This is not accidental but intentional. While many may appreciate the surface, those who can sense the underlying tension experience the true meaning of the work. In this way, my paintings reflect the world as I see it: beautiful, deceptive, and always more complex than it appears.

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