SFUMATO AND THE CONTOURS OF PERCEPTION

I begin every painting grounded in naturalism, meticulously capturing detail through careful coordination between the hand and the eye. Yet, as the clarity of the image takes form, I introduce a transformative phase using an airbrush gun highly diluted with oils. This process, reminiscent of the sfumato technique, blurs contours into a fine atomized and dematerializing mist of ambiguity. Otherwise, I will use a large brush or a squeegee to further disrupt the photorealism. Lastly, a matte resin is used to create an additional layer of distance between the observer and the work, accentuating it’s obscured essence. This process emphasizes the fragility and ephemerality of our perceptions, leaving only the most essential elements of the image, and that of uncertainty, apparent.