Q: Your collectors describe the work as peaceful yet alive. Where does that come from?

A: I see rather than listen. Seeing is the truest description of how I work. When I paint, I’m seeing what Heaven shows and translating it through color. It’s not about imagining—it’s about receiving.

Q: You’ve said painting and prayer are the same motion. What do you mean?

A: I pray the way I breathe—on the breath and under the breath. Painting and prayer happen at the same time. When I pray in the Spirit, I’m speaking mysteries my mind doesn’t know, but my spirit does. I’m not channeling; I’m yielding. I learn from what’s revealed as I paint.

Q: How do body, soul, and spirit meet on the canvas?

A: Painting is the connector—hand, mind, emotions, and spirit moving together. It’s communion. When I paint, there’s spirit-to-Spirit union with Christ. The Spirit moves through form, and color becomes revelation.

Q: Why do some paintings unfold over years?

A: Time is part of my process. Some pieces unfold over years because I revisit them until they breathe. Each layer holds prayer, waiting, and revelation. Returning is listening again—another conversation with light.

“Time is a layer too; I revisit until the painting breathes.”

Technical Notes—Why the Work Breathes

• Clean color stacking (no mud) shows patient dry time.
• Translucent glazes create optical depth and inner glow.
• Knife vs. brush strata reveal multi-session building.
• Negative painting re-exposes earlier color by design.
• Lifted passages and matte/gloss contrasts show process history.
• Interrupted drips mark the surface timeline.
• Revelation by uncovering: selective sanding re-reveals light.

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