SKINS

My current practice focuses on creating paint “skins” on temporary surfaces that are later transferred and adhered to a final support. While each body of work employs different processes and results in distinct formal languages, they are united by a common premise: to treat paint not as a vehicle for representation, but as an autonomous material whose surface retains the physical memory of the actions, time, and conditions that brought it into being.

The conceptual content of these works is closely tied to their own execution. The process begins by painting on large nonporous surfaces, mostly plastic, which I previously deform, stretch, or wrinkle, exploring their own limits as a material. After applying thick layers of acrylic paint onto these surfaces I peel off the resulting films and transfer them onto the canvas, preserving the tensions, folds, and deformations generated during the earlier process while maintaining the flatness of the painted surface.