Water, clouds, mirrored surfaces, shifting reflections, and the human face recur throughout my work—not as subjects alone, but as ways of exploring how we construct reality from incomplete information. A reflection is never the object itself—it is a warping and reimagining of the original. A face reveals and conceals at the same time. Distortion can obscure truth, but it can also expand it or uncover it.
I am particularly drawn to faces. A face is a mind rendered into muscle and light, drawing and painting faces is a kind of radical seeing—a form of storytelling through pigment and pen.
My paintings explore the space between observation and interpretation, where memory, emotion, and attention quietly reshape what we believe we see.
Working in both medicine and art has reinforced the same lesson: seeing is never entirely objective. Every act of looking is influenced by experience, expectation, and the stories we carry with us.
Rather than offering answers, I hope the work creates a moment of pause—a chance to look again, to notice more slowly, and to recognize that certainty is often less interesting than curiosity.