My work begins in sound. As a professional jazz saxophonist, I have spent my life navigating the space between structure and improvisation - between what is written and what is felt. My paintings extend that practice into the visual realm. Each piece starts with a musical fragment: the opening theme of a tune, a moment of improvisation or a phrase whose rhythm and contour stay with me after the last note fades.

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I treat these musical elements - pitch, rhythm, phrasing and expression - not as metaphors, but as data. Through a process of precise measurement, I translate them into geometric forms. Intervals become spatial distances; rhythms become proportions; articulations shift the weight of a line. The resulting paintings are not illustrations of music but visual transcriptions - parallel compositions that allow the eye to experience what the ear already knows.

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The visual language is intentionally restrained. A predominantly monochromatic palette echoes the minimalism of musical manuscript, placing emphasis on structure over decoration. By limiting colour, I ask the viewer to focus on the architecture of sound: its tensions, its releases, its repetitions, its surprises.

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My works cover all genres of music but jazz, especially, informs everything I make. Its blend of discipline and spontaneity, of rules bent in the service of expression, mirrors my process. Even when I begin with a fixed musical phrase, the act of translating it invites a kind of improvisation - a dialogue between the certainty of notation and the intuition of painting.

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Ultimately, my work aims to create a bridge between listening and looking. These paintings are invitations to feel the rhythm of a line, to hear the movement of a shape, to let the eye follow a phrase as it unfolds across the canvas. They are attempts to make the invisible logic of music visible and to explore the deep kinship between sound and sight.

 

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