Embers begins with a simple premise: heat is a form of evidence. It gathers on the surface of a body, settles into a room, disappears almost as soon as it arrives. We move through the world leaving traces we rarely see.

The paintings draw from thermal images, but they are not about technology. They are about the distance between what can be measured and what can be felt. Temperature becomes a way of thinking about memory, intimacy, violence, tenderness, and the atmosphere we create around one another. The invisible acquires a surface.

Painted in textured layers of oil, the images emerge slowly, accumulating and dissolving at the same time. What interests me is not the certainty of the image but its instability—the way presence can be registered long after a body has gone, the way warmth persists even as it fades.

All works yet to be titled.