Power Lines

Painting and drawing share the same foundation: line and form. These elements are the underlying structure of visual thought, the framework through which an image first comes into being. By working primarily in black, white, and muted gray, I remove the distraction of color so the essential architecture of the image can emerge. Lines define movement and tension, while simple forms establish presence and weight within the space of the canvas. What remains is a more direct encounter with the figure, where the immediacy of drawing merges with the physical depth of paint.

This reduction allows the work to move closer to the instinctive side of human experience. The figures often carry a sense of tension between control and vulnerability, reflecting the quieter struggles that shape our inner lives. Jagged or abrupt lines introduce moments of conflict or unease, while softer curves suggest introspection or fragile connection. Through this interplay, the paintings explore the dual nature of human presence, the balance between our more refined self-awareness and the raw, instinctive impulses that remain beneath it.

The process begins much like a drawing, with an idea or sensation taking shape through line before gradually settling into paint. The surface records this progression, allowing the viewer to sense the evolution of the image as it moves from thought to form. By emphasizing the structure beneath the image, the work invites a slower kind of looking, one that considers how the simplest elements of line, space, and gesture can carry complex emotional weight. In this stripped language of drawing and painting, the figure becomes less a narrative subject and more a presence shaped by the quiet architecture of the mind.