The geometric works — concentric rectangles of transparent acrylic on linen — are painted freehand but maintain a formal alignment that creates perceptual calm. When lines hold "true" to the canvas edge, the eye settles, and the center activates a presence, created through absence. Working with subtle, often muted color on raw linen, these paintings embrace emptiness as content — the void at the center becomes the subject, activated by the chromatic and structural relationships surrounding it.

I approach painting as a receptive practice, working by intuition and in a state of flow — allowing form and color to emerge rather than imposing predetermined ideas. I'm interested in how this formal inquiry of working with reduced vocabularies of geometry, gesture, and color allows for opening and expansiveness.

I also make photographs of images projected onto my body, and stage photographs on top of painting remnants. These images investigate the relationship between the body and the painted surface, the body and nature, the body and the painting as a veil – intersecting like characters in a psycho-dramatic narrative.

This practice started with my Velocity series (1998) where I projected images of my mother’s paintings onto my body, and developed into my Amden series (2003), where I merged painting and photography, painting on my body and photographing myself in the mountains of Switzerland. Recently, I have projected my own paintings onto my body and photographed these scenes; as well as recent paintings on linen from my Portal series (2025), where the body is implied, both with the artist making the work and the viewer experiencing the work. The image is in proportion to the body, and perhaps activates energy around and within the body.

All of these practices point to one thing, which is an experience of the Self within. It sits in the quiet knowing of I Am.