I began painting during a time when I had to learn to trust that light would return, even when I couldn’t see it.

In a dream, my process revealed itself: highlights first, shadows last. Light laid down before darkness.

This reversal became the foundation of my technique—Lumière Inversée.

Instead of building from shadow into light, I begin with illumination. The brightest points are established first, then layered gradually with depth and contrast. Each shadow is placed intentionally, never to overpower, but to define and protect the light beneath it.

The process mirrors transformation. The highlight represents belief. The shadow represents wisdom.

Music often moves through the studio—Ella Fitzgerald, Louis Armstrong, Lil Wayne, T.I.—but the rhythm of the piece ultimately leads. The work determines its own balance of strength and softness.

Because of this layered method, each painting holds dimension that shifts with perspective and light. Photographs flatten what the eye can experience in person. The surface carries both tension and grace—revealed slowly, depending on how you stand before it.

Lumière Inversée is not just a method.

It is a philosophy of beginning with light.