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 images function as a visual diary of moments I have lived, yet the everyday scenes I choose carry a universality that invites viewers to bring their own memories and associations to the work. What began as my moment becomes a meeting point between my experience and yours.

The act of painting is itself a manipulation of time — a fraction of a second stretched into hours of rendering, each brushstroke a meditation on the fleeting. By slowing down and isolating these moments, I also ask viewers to reconsider what they might otherwise absorb passively — particularly in how women are portrayed on screen and how cinema shapes our understanding of identity and ourselves.