"As I grow as an artist, I have come to accept that I am not a neat creator. I get a lot of unsuspected inspiration from the emotivity that comes from the act of painting itself, but also from my mood, my thoughts, and other emotional aspects of my day to day. Repetitive tasks are incredibly mind-numbing to me, so I need to have at least two paintings going at the same time, but at different creating stages, for me to feel productive. Working in oil on different projects simultaneously allows me to get the best of the medium, in my opinion. I get the richness of pigments and smooth colour transitions with the ability to do detailed work on a dried surface when the other piece is in its curing stage. I usually directly sketch with paint on the canvas, rarely drafting projects in depth beforehand. This exploration of the final surface adds a lot of life to my work, as the sketches, previous versions and iterations of the same painting are still all behind the final version. Before I can tell a work is finished, it often needs to rest in my studio space in a place where I can look at it passively, and after a while decide if it needs tweaking. This resting period can take days, weeks or months for one piece. My inspiration comes from concepts of gender, social habits and interpersonal relationships, taboos, identity and anonymity, as well as collective dichotomies. My work is a tool for me to process strong emotions directly caused by my tumultuous relationship with my own exploration of life, which my generation can hopefully relate to."