This body of work is approached as an ongoing inquiry rather than a fixed series of outcomes. I work slowly and deliberately, guided by restraint, continuity, and a belief that sustained attention is both an artistic and ethical act. Classical realism functions here not as a historical style, but as an active framework for seeing—one capable of holding complexity without spectacle. As Kant observed in his discussion of the sublime, it is often “that which cannot be contained by form” that most fully engages our faculties; I am drawn to this tension, where structure meets what exceeds it. The works presented here reflect a commitment to disciplined observation and measured decision‑making, inviting the viewer into a quieter encounter where form, perception, and meaning unfold through duration rather than immediacy.