My current painting practice explores how attention to overlooked details of the everyday built environment can reshape perception. Guided by Georges Perec’s notion of the infra-ordinary, the work foregrounds peripheral fragments as a way of bringing the unnoticed into view. The fragment functions as both method and concept, creating thresholds between light and dark, interior and exterior. Drawing from Hanneke Grootenboer’s idea of the pensive image, the paintings cultivate moments of material stillness that slow perception and invite reflection. Influenced by Maurice Merleau-Ponty’s account of embodied perception, the work treats seeing as a tactile, relational exchange between body and environment, using subtle shifts of tone, surface, and light to evoke this closeness. Developed through continual adjustment and responsiveness, the paintings transform pictorial space from a ‘window of depiction’ into a reflective threshold, engaging perception as an active, ongoing process grounded in attention to the everyday.
