The Vision of Color and Structure
Artist Statement — Introducing Chromaphany
I paint the world not as it appears, but as it feels.
Each work begins with a moment of quiet reverence—when light, color, and awareness merge into a single experience. I don’t try to capture light; I study how it reveals form and depth. My aim is not to reproduce nature, but to reflect its presence—its transitions, contrasts, and harmonies expressed through color and structure.
Over time, this way of seeing and working began to take shape as its own language. I call it Chromaphany—from chroma (color) and epiphany (revelation). It describes the moment when color becomes awareness—when seeing turns to feeling, and feeling becomes revelation. It isn’t a movement or theory, just the name I’ve given to what continues to unfold in my practice.
Chromatic Emotion
Color is my emotional language. I use it not to describe the world, but to express what it feels like to stand within it. A sky may turn crimson to convey awe, or fade into blue to suggest calm. Every hue carries emotion; every transition holds meaning. I want color to bypass logic and speak directly to the heart—the way music does.
I paint what light feels like when it enters awareness.
Architectural Space
Beneath the movement and color, there is structure. I build each painting like a composition—balancing rhythm, proportion, and form. I’m drawn to the geometry within nature: the order that allows motion and stillness to coexist. Structure gives emotion a place to rest, allowing harmony to emerge within energy.
Form provides the foundation through which visual experience takes shape.
The Sublime
I paint from awe—that moment when beauty and vastness meet and the self becomes still. The landscape, to me, is not a subject but an experience of scale, silence, and reflection. Each painting is an attempt to convey that sense of openness and wonder where time seems to slow.
The sublime reminds me that we exist between the finite and the infinite—grounded yet illuminated by perception.
Gesture as Energy
Painting is physical—it’s movement, rhythm, and tempo. My brushstrokes and pastel marks are not about precision but expression. Gesture records the act of seeing—the translation of motion, breath, and awareness into mark and color. Each movement becomes part of the finished work, as if observation and creation were inseparable.
Gesture is the trace of experience in motion.
My Vision
I live and paint within the balance of structure and emotion, clarity and mystery. My work reflects the influence of artists such as Caspar David Friedrich, Wolf Kahn, and April Gornik, yet it remains rooted in direct perception—where color, movement, and light form a unified language.
Chromaphany is simply the word I use to describe that process—the way light, color, and awareness reveal one another through painting. I offer it humbly, as a reflection of how I see, and as an invitation to others who also sense that seeing deeply is its own form of reverence.