My current painting research engages the contemporary information environment, particularly the ways censorship, omission, and misinformation mediate public perception of military violence, including the U.S. war with Iran and the ongoing genocide in occupied Palestine. This inquiry is shaped by my lived experience. I spent more than a decade in Doha, Qatar, and returned to the United States in May 2025. Since that move, I have remained preoccupied by the vulnerability of the region and by the fact that the small country where I lived has since been bombed by both Israel and Iran. That proximity intensifies my attention to how political realities are filtered, managed, and made legible through images and their circulation.

Rather than treating painting as a vehicle for illustration, I use it as a testing ground for how political content can register through formal relationships. The work is driven by impulses of redaction and concealment, and by the paradox that concealment can also function as a mode of disclosure, making visible the contours of what is being withheld. Alongside these strategies, I continued a parallel line of formal experimentation that strips color from the paintings and builds compositions in direct response to the underlying surface texture. This approach treats texture not as a neutral substrate but as an active constraint that shapes the image, allowing the painting to register its own material conditions while remaining attentive to the politics of visibility, withholding, and mediated perception.