Inflection

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I like the word inflection because it describes a very small change that can completely redirect meaning. In language, an inflection can change tense, voice, mood, person, or number without turning a word into something entirely unrelated. I’ve always liked that idea: change through context rather than replacement.

This painting is almost the opposite of insisting on an image. It is built through veiling, abrasion, soft tonal shifts, and near-erasure, so forms seem to arrive and disappear depending on where and how long you look. There are darker masses, flashes of light, scratches, fog, pressure — but nothing really declares itself.

I think of it as an exercise in anti-clarity. I’m interested in the fact that something can become more active, not less, when it is difficult to see. The smallest change in density can suddenly make a shape become a figure, a shadow, a room, weather, or nothing at all. The work sits very close to disappearance. Inflection describes obscurity, fog, vagueness, transparency and opacity as part of an interest in perception.

Where it's been: Face Forever, curated by Mattea Schouten, Ada Slaight Gallery, OCAD University, Toronto, ON, 2026

Circles, curated by Annie Gao, 222 Spadina Ave., Chinatown Centre, Toronto, ON, 2024