Field Fragments

Field Fragments began with materials gathered during my travels—torn posters, weathered papers, printed remnants, and discarded fragments collected from walls and streets. I am drawn to surfaces that have accumulated history: places where layers of information, advertising, handwriting, weather, and human activity have been built up over time.

Back in the studio, these fragments become the starting point rather than the subject. They are sorted, layered, obscured, painted over, torn apart, and reassembled. Fragments of text, color, and image remain visible while their original meanings recede, giving way to new relationships and associations.

The process mirrors my approach to painting. Rather than working from a predetermined image, I build through accumulation, interruption, revision, and discovery. What begins as disparate material gradually resolves into a cohesive visual field where order and disruption, structure and intuition, coexist.

While the materials originate in specific places, the work is not intended as documentation or travel narrative. Evidence of lives, places, languages, and histories remains embedded in the materials, but those stories can no longer be fully recovered. What remains are fragments—partial records transformed through the processes of layering, editing, concealment, and reconstruction.

Each work functions as a small excavation—a layered surface where history, chance, intuition, and transformation converge.