At the heart of my practice is a fascination with time — how it moves, how it slips away, and how art can hold it still. I paint from film stills, carefully selecting a single frame from the 24 that pass in any given second. These frames function as a visual diary of moments I have lived — scenes I have filmed, experienced, or been moved by. The act of painting is itself a manipulation of time; what lasted a fraction of a second is stretched into hours of rendering, each brushstroke a meditation on that fleeting moment.

But while these images begin as my own memories, I am equally interested in what happens when they meet the viewer. Everyday scenes carry a universality — a quality that allows others to bring their own recollections, emotions, and associations to the work. I want my paintings to be a meeting point between my memory and yours, a space where personal and collective experience overlap.

My interest in film also extends to how it shapes identity, particularly the representation of women on screen. By isolating and slowing down these moments, I invite viewers to re-engage with images they might otherwise absorb passively — to question how women are portrayed and perceived, and to reflect on the role cinema plays in shaping our understanding of ourselves and each other.