This connection is not only about portraying nature as a subject, but about entering into a state of presence with it—translating its rhythms, silences, and textures through gestures that are spontaneous and unfiltered. My hand moves without calculation, following an instinct that feels older than thought, closer to breath. It is a process akin to the spirit of Japanese Zen painting, where the act itself becomes a form of meditation—one that seeks not to capture, but to commune.
In these moments, the boundary between the inner landscape and the outer one begins to dissolve. Drawing and painting become a way of being in the world—not as an observer, but as a participant in its quiet unfolding.
