I am interested in proposing alternative methods of portrait construction, where the portrait-object no longer functions as a singular indexical icon, but as a signification of the very acts of portrayal that produced it. As an extension of traditional physiognomic and hermeneutical assumptions of portraiture, I intend to draw attention to those performative and material processes that are omitted from the conventional displays of portraits. Processes that includes: the lived intimacy between artist and sitter, the (re)presentation of the source image onto pictorial ground, as well as the critical and aesthetic transactions that takes place between the mounted work and its viewers. Portraiture that no longer functions as a singular indexical icon but as a multi-mediatory assemblage, a constellation of intersecting narratives and tonalities.

My practice is driven by an underlying fascination with people: their voices, their faces, their breathe, their accents, and their capacity to seize sympathy. I imagine my works as vestiges of past human presence, the invisible—yet palpable—aura that we all impart; described by Merleau Ponty as the “ghostly presence” of the human body. Part of my mediatory function as an artist—working within the tradition of portraiture—is in capturing, (re)presenting and (re)constructing this very corporeal presence throughout the material, spatial, digital and performative composition of my artworks.