The portraits are not concerned with resemblance. They reach instead for presence. Faces surface from layers of paint and drawing, then partly withdraw, some marks kept, others removed, every history left visible at the surface.
The gaze is suggested rather than fixed. A line can be tender or feral. A smudge can carry more truth than any detail. Figuration edges toward abstraction, and the echoes of Renaissance portraiture meet a contemporary urgency that makes each face feel like a memory arriving, specific and universal at once.
These are not paintings to be looked at so much as met. They hold their ground, and they look back.