painting 2023-2025
Painting Research Practice
My painting practice operates as a parallel research stream within my broader interdisciplinary work in ecology, sound, and emerging technologies. I work with ground mineral pigments and walnut oil on stretched or suspended canvas, wooden panel, and large-format acrylic on paper, with compositions ranging from 24” to over 96”. Each painting functions as a site of embodied inquiry or an improvisational laboratory where colour, gesture, and material behaviour co-evolve.
Trained initially as a painter in 2001, my foundational research centered on the phenomenology of surface, the semiotics of gesture, and the chromatic dynamics of perception. Although my practice later expanded into video, sound, media arts, social practice, and installation, painting has remained an essential methodological root. It is where ideas first resonate materially, where intuition and embodied cognition guide the emergence of form, and where conceptual frameworks are tested through sensory and durational processes.
As a research activity, painting provides a quiet but rigorous mode of investigation. It allows me to study the relational agencies of pigments, oils, and substrates; to explore improvisation as method; and to trace how micro-gestures become macro-structures within my ecological and multispecies projects. Painting is where I refine modes of attunement that later inform my sound works and relational systems. It is a private studio ecology and a place where knowledge is felt, not extracted; where thinking becomes tactile; and where new aesthetic propositions are born.
I continue to maintain painting as an active research conduit, a long-term inquiry into colour, materiality, and embodied perception. It remains an anchor and companion to my interdisciplinary work, generating conceptual insights and sensorial vocabularies that inform the evolution of my larger creative practice.