My artistic praxis unfolds as an interminable dialectical engagement within the liminal interstice between the ontologically disparate realms of materiality and immateriality, contingency and necessity, intelligibility and the ineffable. In this ongoing epistemic process, the act of painting is not merely construed as a static method of creation, but as a performative, recursive engagement—an ontogenetic unfolding of self-reflexive processes that perpetually reconstitute their own boundaries and modalities. My work interrogates the aleatory arbitrariness inherent within the act of painting, positioning it as a site for the perpetual deferral of signification, a mutable nexus where resolution is eschewed and meaning remains perpetually in abeyance.

Through the intricate confluence of digital technologies and traditional image transfer methodologies, I endeavor to deconstruct and destabilize the ontological dichotomies between the digital and the corporeal, the immaterial and the material, generating a visual tension that is at once both syncretic and disjunctive. The digital and the analog, in their fusion, cease to function as autonomous domains, but instead become entangled within a singular, transient gestalt, wherein the pixelated trace of digital imagery collides and intertwines with the somatic, tactile surface of the painted canvas. This collision, far from reconciling these disparate spheres, engenders an ongoing epistemic rupture—an ontological disjunction in which the virtual image perpetually resists the materiality of the painted form.

The application of the matte transfer technique, far beyond its methodological application, serves as a metaphysical conduit through which the digital image undergoes a transference, not merely into the material realm, but into the conceptual sphere of the indefinite and the transient. In this act of transference, the image is neither fixed nor absolute but emerges as a simulacrum—a mutable residue of its originating digital archetype. Consequently, the painted surface ceases to be a passive site of representation, instead becoming an active, performative arena wherein the image itself is subjected to a process of ceaseless inscription, erasure, and reconstitution. Each layer within this palimpsestic configuration acts as a semiotic vestige, an interstitial trace that defers its own meaning, prompting a continual process of re-signification and hermeneutic re-engagement.

Erasure, within this iterative process, is not a negation but a generative act of exorcising the prior, opening new ontological fissures for the emergence of alternative significations. This act of conceptual excision unfolds as a dialectical moment, in which the marks of the past are not obliterated but rather reconfigured into new temporalities. Through the praxis of deconstruction and re-signification, my work engenders a complex web of semiotic contradictions—an oscillation between presence and absence, figuration and abstraction, visibility and invisibility—that together form a non-linear, anti-teleological structure of perpetual flux.

The resultant compositions embody a dynamic interplay between these spatial and temporal ruptures, forming a visual fugue that resists finality or closure. The image exists as a simulacrum that cannot be assimilated into any singular, fixed signification but instead remains in a state of flux, a site of perpetual deferral. This refusal of finality creates an ontological space wherein the viewer is invited into an ongoing engagement with the work, participating in the reconfiguration of meaning as the image shifts between the material and the immaterial, the representational and the abstract.

The painted surface, therefore, emerges as an active palimpsest, a site of perpetual ontological negotiation, where each mark and erasure reverberates through a series of temporal layers, each one inviting further interrogation and re-interpretation. My practice, in its complexity and temporal disjunctions, becomes a hermeneutic space wherein the dialectic between the real and the imagined, the digital and the analog, is both enacted and perpetually deferred. In this way, the work itself becomes an inquiry into the limits of visuality, a contemplation of the ontological nature of representation, and a meditation on the complex interplay of time, materiality, and the subjective experience of the viewer.