Morning in Paris Painting

I work at the intersection of art and craft. My tables and sculptures are acts of functional abstraction—compositions that inhabit not only the wall but also the cadence of everyday life. At the core of my practice are resin tubes—architectural modules through which I orchestrate rhythm, depth, and translucency. This visual language allows me to translate abstraction into matter, to stage a dialogue between the history of art and the immediacy of contemporary experience. Each collection is a conversation with the masters of abstraction. From Pollock I inherit the energy of gesture, from Rothko the abyss of color, from Mondrian the rigor of structure. I do not quote them; I respond to them—asking what abstraction means today, when it can be not only seen but also touched. My works blur the threshold between furniture and art. They are not mere surfaces for objects, but autonomous scores of light and color—living both in the intimacy of the home and the resonance of the gallery.