My current work emerges from an extended investigation into mirrored systems and optical palindromes developed between 2022 and 2024, where repetition, inversion, and grid-based structures became a way to explore how complex relationships can exist within simple organizational frameworks. That earlier body of work focused on building visual systems capable of producing internal coherence, allowing order to arise through constraint rather than direct composition (documented in detail on the previous project page).
What began as an inquiry into symmetry gradually shifted toward a broader interest in emergence itself: how structure can function as an environment in which experience unfolds, rather than as an image to be controlled. Over time, palindromes and chiral forms gave way to larger fields built from mathematical relationships, mirrored quadrants, and frameworks that permit randomness to operate within strict limits. The solution is embedded in the system, and the act of painting becomes a process of revelation, watching coherence appear through rhythm, repetition, and chance.
Across this evolving body of work, I remain focused on how many parts can exist together without hierarchy, how balance arises without a central authority, and how complexity forms through simple relationships. The paintings function as non-dominating structures, where no single element holds precedence and order is felt as a distributed field rather than an imposed design.
At the same time, a central question remains unresolved: the role of color as an emotional and experiential carrier within these systems. Although I have worked extensively with color and have achieved various technical and conceptual experiments, I have yet to encounter the sense of truth I’m seeking. Certain approaches have functioned competently, and others have clarified what does not work, narrowing the terrain of inquiry, but none have fully allowed the structures to breathe in the way I intuitively recognize as necessary.
Color resists rigid organization in a way that structure does not. It behaves relationally, culturally, and perceptually, shifting according to context and adjacency. My ongoing research now sits within this gray territory, where systems are no longer only formal frameworks but environments for lived experience, and where color may become the element that introduces atmosphere, memory, and emotional coherence into otherwise precise fields.
This trajectory continues to unfold as a sustained investigation rather than a resolved aesthetic. The work moves from symmetry toward emergence, from image toward environment, and from structural clarity toward a more complex, breathing system in which order and experience coexist.
