I believe every painting is a node within a network. Each internal layer records a relationship, between memory and perception, intuition and structure, accident and intention. These relationships do not end at the substrate or the frame. They extend outward into networked exhibitions, archives and counter-archives, films, architecture, cities, and ultimately the culture of images itself.This condition demands new forms of spatial representation.

Across my painting, collage, montage, and bricolage practices, I work simultaneously with Euclidean space, the visible world of objects and geometry, and Eulerian space: the invisible world of flows, relationships, circulation, and transformation. Together, these two abstract spatial logics become a framework for understanding painting not as an isolated object, but as an active system moving through people and culture.