I make paintings and drawings that open onto a world adjacent to ours. Each work stages a distinct environment, most often within nature, where flora holds attention and time feels slightly displaced. Places feel specific enough to suggest weather, season, and terrain, yet they remain indeterminate so the mind can travel. Within these scenes, quiet phenomena appear. Small concentrations of energy surface as subtle glows that move through the composition, not as the subject but as signs that another order is present.

Figures inhabit these environments and remain central, yet the face is withheld or dissolved to a field. This loosens identity and lets the body act as a vessel for presence rather than a portrait. The result is a sense of witness. Something is being observed, and what is observed belongs to a realm that mingles with our own without fully revealing its laws. The paintings mirror our world in this way. Just when we think we understand the rules, new conditions rise at the horizon and earlier truths prove partial. Perception adjusts, and meaning follows.

Landscapes across Mexico inform this sense of place, but the aim is a terrain that is both grounded and open. I layer translucent acrylic and embed soft pastel so forms hover between apparition and fact. Edges remain breathable, color shifts with the room, and surfaces invite sustained attention. I think of the practice as a form of field work. Each painting functions as a careful note from a neighboring realm, recorded by a witness who does not claim certainty. The images remain deliberately diffuse so that understanding arrives slowly, through looking, as the world of the painting acclimates to the viewer.