My painting practice centers on lacquer that I prepare myself and apply in successive layers on rigid supports.

The surface becomes a space of slow emergence: the material stretches, retracts, polishes itself, becomes troubled. Light moves through the depth of the layers, sliding across glossy areas and sinking into matte ones. Each panel is the result of long duration, a dialogue between opacity and transparency, between control and accident.

Alongside this lacquer work, I occasionally explore watercolor as a more immediate counterpoint — a moment where color settles without resistance.

Painting, for me, is a place of concentration: a space where material, light, and gesture search for a quiet form of precision.