My goal as painter is to create a moment in a world someone would be compelled to continually revisit.
In the figure collection, that moment captures the end of one thing and the beginning of another. Each piece is titled after a familiar idioms — adding tension and ambiguity to a layered narrative. The composition, objects and titles are designed to work in concert, each element adding a new possibility to the interpretation or perspective of the narrative.
The approach draws loosely from Schema Theory—the idea that we interpret the world through internal frameworks shaped by layered emotional and intellectual experiences. On an unconscious level, nothing is ever just one thing. When a painting is anchored in something familiar, such as an idiom, it sparks recognition but leaves the scene open-ended. This gap activates what psychologists call the Zeigarnik effect: our tendency to dwell on unfinished stories and try to complete them. The result is a brief but charged moment of orientation—where language primes memory, emotion, and analysis all at once. By the time the viewer registers the full image, they’ve already begun to read it through a personalized lens, blending the visual with the verbal, and intuition with analysis.
