My practice engages with the material and conceptual histories embedded within existing paintings. I work with artworks that retain identifiable authorship, subject matter, and provenance, resisting the notion of the “found” object as neutral, detached from its past, or “lost”. Instead, I approach these paintings as active cultural artefacts, shaped by networks of production, circulation, and value.
Through processes of superposition—adding, obscuring, and reworking imagery—I construct layered compositions in which past and present coexist in tension. These works operate as sites of collision, where images are not simply combined but made to “slip” and collapse into one another, generating new and often unstable meanings. In this sense, the painting becomes less a fixed object than a shifting field of relations.
Informed by critical discourse on authorship, commodification, and remix culture, my practice examines how images move through time and how their meanings are continually reconfigured. By maintaining the visibility of the underlying work, I foreground its historical and cultural charge, while simultaneously disrupting its original context.
My paintings can be understood as both interventions and collaborations across temporal and cultural boundaries. They challenge the idea of artistic originality as singular or self-contained, instead proposing a model of practice grounded in reuse, transformation, and the ongoing circulation of images within broader networks.
Through processes of superposition—adding, obscuring, and reworking imagery—I construct layered compositions in which past and present coexist in tension. These works operate as sites of collision, where images are not simply combined but made to “slip” and collapse into one another, generating new and often unstable meanings. In this sense, the painting becomes less a fixed object than a shifting field of relations.
Informed by critical discourse on authorship, commodification, and remix culture, my practice examines how images move through time and how their meanings are continually reconfigured. By maintaining the visibility of the underlying work, I foreground its historical and cultural charge, while simultaneously disrupting its original context.
My paintings can be understood as both interventions and collaborations across temporal and cultural boundaries. They challenge the idea of artistic originality as singular or self-contained, instead proposing a model of practice grounded in reuse, transformation, and the ongoing circulation of images within broader networks.