Lady in White

“Lady in White” began as a series of figurative paintings, but over time the work moved toward a space where the image became less stable and more fragmented. I became increasingly interested in the moment where a figure is still present, but no longer fully fixed or descriptive.

The paintings are built through layering, revision, interruption, and repeated changes on the surface. Rather than focusing on likeness or portraiture in a traditional sense, the series explores perception, memory, emotional presence, and the shifting relationship between visibility and disappearance.

Abstraction plays an important role in the work, not as a rejection of the figure, but as a way of pushing the image beyond direct representation. Color, gesture, and surface are used to create tension between recognition and ambiguity, structure and dissolution.

While the work is connected to contemporary painting, it is also shaped by my ongoing interest in modern art philosophy, critical theory, and the psychological space of painting itself. What matters to me is not arriving at a fixed image, but allowing the painting to remain open, unstable, and alive through its process.