Initially, I sourced imagery from references to the virus, but that changed as I pondered the connection between how a virus spreads and how artwork affects those who see it, their surroundings, and the environment.

I considered how viewing my paintings could impact someone, positively or negatively, in the same way that coming into contact with a virus could. I aimed to control the interaction with the work in a given space, yet leave it open to interpretation.

I examined how the reference to the virus could align as a pattern on the painting's surface, questioning if it was a tool to affect the viewer. This color field, created by the allover pattern, allows me to express much.

Zooming in and examining something closely provides a different understanding and awareness. Just like a cell wall separates us from infection and also from new ideas, thoughts, and experiences.

My paintings express the duality of tragedy and splendor, fear and fascination, destruction and rebirth. They embody terrifying beauty, otherworldly strangeness, and mystery, like a microbe magnified for the human eye. My portrayal of these ambiguous and metaphoric images expresses my inner vision, life's essence amplified.