The paintings below are created with oil on wooden panels and are framed with meranti wood. I begin by preparing the board with a white base coat. Once it dries, I apply a layer of black or brown paint. From this darkened surface, I gradually reveal the image by lifting the dark pigment, allowing the light to emerge. No white is added—the luminosity comes from within the painting itself.

This technique enables me to achieve precise details, stark contrasts, and a wide range of values—elements essential to the process of perception. Unlike traditional painting, which builds up layers of pigment, my process is one of subtraction. Most of the work consists of removing the darker surface to expose the underlying light, rather than adding layers. I find this approach deeply compelling—it is a process of negation, a creation through absence, where what seems empty is, in fact, full of meaning.

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