My work explores the conceptual nature of language and writing—how meaning is constructed, assigned, and transmitted through marks that are, at their core, arbitrary. Working primarily with acrylics and inks, often layered with graphite, charcoal, and crayon, I approach each piece intuitively, allowing improvisation, chance, and accumulated experience to guide the work as it unfolds.

Visually, the work operates in abstraction while evoking the appearance of text, script, or inscription. I draw inspiration from ancient writing systems and monumental inscriptions, but my work is equally shaped by modern and contemporary sources. Artists such as Keith Haring, along with the playful, bold design language of mid-century modernism and 1990s-era Nickelodeon aesthetics, inform my approach to line, color, and composition. I am interested in doing the most with the minimum—distilling visual language down to its essentials while maintaining a sense of energy, immediacy, and play.

This body of work represents an early stage in a long-term project to construct a fictional written language. What begins as abstract mark-making is intended to gradually evolve into a decipherable system with its own rules, structures, and internal consistency. Rather than offering a fixed narrative, this language functions as an open framework—one capable of suggesting a mythology, history, or culture without fully defining it. Viewers who spend time with the work may begin to recognize patterns, repetitions, or visual “grammar,” transforming the act of viewing into one of interpretation and discovery.