"Waterlight" Painting

Embodied Terrain examines the reciprocal relationship between body and landscape, dissolving the distinction between the two. Developed from observational drawings of the live figure, each painting undergoes an intuitive process of accumulation, excavation and revision in which representation gradually gives way to a more fluid spatial language.

The figure is neither subject nor motif, but a generative structure through which the landscape is constructed. Forms surface, fragment and recede, occupying an ambiguous territory where corporeal and geological rhythms converge. Rather than depicting place, the paintings consider landscape as an embodied experience, one shaped by memory, movement and perception.

Working primarily in oil, the paintings embrace uncertainty as a generative force. Layered surfaces, shifting chromatic relationships and gestural marks resist fixed readings, inviting sustained attention and multiple interpretations. The resulting works occupy a threshold between abstraction and figuration, proposing the body and the landscape not as separate entities, but as mutually constitutive forms continually engaged in processes of transformation.