Held in the Trace

Held in the Trace grew from an encounter with memory — not as something fixed or complete, but as something continually shifting between what remains and what has disappeared. The works hold fragments of experience rather than attempting to reconstruct it. Botanical impressions, drawing, layered surfaces and material traces become ways of registering what remains when something is no longer fully present.

A mark remains after the gesture that made it. A surface remembers what has been covered. A fragment can suggest what is no longer whole. The paintings move between recognition and abstraction, presence and absence. Layers are built, obscured and uncovered; forms appear and recede. The surface becomes a place where memory can gather without needing to become a complete image.

What remains is never simply what was there. It is what the surface continues to hold.