Painting is a language I began to learn at a young age, with my first oil painting class in the Beirut of my childhood. Through a nomadic upbringing of different cultures, languages, geography my art served to center me. I took in the landscapes of Los Angeles, Switzerland, Hamburg, London, Nairobi and Dallas. And these places and spaces formed the foundation for my visual language. So too, did my father’s architectural practice. His extemporaneous sketches of fantastic buildings on little cocktail napkins, with the pen bleeding into the texture of the napkin, held fascination for me as a free-associative process. It was these quick, fleeting sketches that introduced me to modernism and its spontaneity.

My paintings and drawings function as family or tribes of works in dialogue with one another. I think of each work as a unique investigation and work intuitively and impulsively at first, later taking a step back to consider the work formally and critically, then engage with the work again relying on an immediate intuitive response to either disrupt, erase, provoke or entice.