My work is a direct response to the landscape, grounded not in representation, but in the physical process of painting. I am drawn to the atmosphere of open spaces—the impact of time, the play of light, and the  silence of the horizon.

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I utilize oil and cold wax as a primary medium for its unique "memory." Because the wax maintains the paint’s "open" state longer than traditional oils, it creates a receptive surface that captures the trace of every action. This allows me to build a structural, almost sculptural history within the work. Through the use of unconventional tools and varying ratios of wax to pigment, I explore the tension between transparency and opacity, creating a richness that mirrors the geological stratification of the natural world.

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In my compositions, the horizon serves as a constant point of reference, balancing the flatness of the picture plane with a sense of recession. My goal is to move the landscape into the terrain of signs and symbols—achieving a clarity of form that suggests the sublime. These paintings do not depict fixed locations; instead, they are universal geographies that reflect our uncertain relationship with the environment. Ultimately, I view each painting as a physical object with its own history, depth, and presence, offering a space for genuine, measured contemplation.

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Technical Addendum: The Oil & Cold Wax Medium

 

Medium Composition

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The primary medium is a specialized blend of cosmetic-grade beeswax, damar resin, and a small amount of solvent, combined with artist-grade oil pigments. Unlike encaustic painting, which requires heat, cold wax is worked at room temperature, allowing for a more spontaneous and iterative layering process.

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The "Open" State and Curing

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• Extended Workability: The addition of wax to oil paint alters the molecular structure, extending the "open" time. This allows for complex techniques such as sgraffito (scratching through layers) and solvent washes long after traditional oils would have skinned over.

• The Curing Process: As the solvent evaporates, the wax hardens (cures) to a durable, matte finish. This creates a "breathable" surface that is less prone to the cracking or yellowing often associated with heavy resin varnishes​

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Structural Integrity and Layering

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The work is built through a series of "interventions." By manipulating the ratio of wax to pigment—typically ranging from 1:3 for transparency to 1:1 for structural impasto—the following characteristics are achieved:

• Geological Stratification: The wax allows for the suspension of pigment in translucent veils, creating a sense of deep, internal light.

• Haptic Surface: The medium supports "broken" marks and sharp edges that hold their shape, giving the painting a three-dimensional, sculptural presence.

• Archival Permanence: Once fully cured, the wax acts as a protective binder, encasing the pigment and providing a natural moisture barrier.

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Conservation and Care

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Paintings executed in oil and cold wax are remarkably stable. The finish is intentionally matte or satin, avoiding the distracting glare of traditional gloss varnishes.

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• Maintenance: The surface can be lightly dusted with a soft, lint-free cloth.

• Stability: Because the melting point of the wax component is significantly higher than ambient room temperatures, the work remains structurally sound in all standard residential and gallery environments.