HELLO YAM, WE ARE THRILLED TO HAVE YOU JOIN OUR FIRST AUCTION OF 2026 AND TO HEAR MORE ABOUT THE WORK YOU HAVE MADE AND YOUR ART PRACTICE. FIRSTLY, YOUR WORK OFTEN FOCUSES ON OBSERVING AND CAPTURING MOMENTS, OBJECTS, AND SETTINGS RATHER THAN DEPICTING PEOPLE DIRECTLY. CAN YOU TALK ABOUT HOW YOUR OBSERVATIONAL APPROACH FIRST DEVELOPED AND WHAT DREW YOU TO USE PAINTING AS A WAY TO REFLECT ON HUMAN BEHAVIOR, CULTURE, AND YOUR OWN PERSONAL EXPERIENCES?

Initially, my work focused on overlooked aspects of everyday life. I was always drawn to the psychological dimension of our surroundings such places, objects, and rituals, and to how these elements quietly shape behavior and emotion. They became a way for me to observe, analyze, and interpret human experience without depicting figures directly. I think it has always felt more natural for me to look around rather than towards something - to approach meaning indirectly, through atmosphere and context, in order to reach a deeper understanding. More recently, my practice has begun shifting in a different direction, becoming more open and intuitive, but observation remains central. I still gain a great deal from watching life unfold through its peripheral details and allowing those impressions to guide the work.

WHEN YOU DEPICT OBJECTS AND SETTINGS FROM SOCIAL EVENTS, LIKE CONVERSATIONS AROUND A TABLE, HOW DO YOU APPROACH CAPTURING THE DYNAMICS AND ATMOSPHERE WITHOUT DIRECTLY REPRESENTING THE PEOPLE INVOLVED?

I think it has always been about representing the people involved. I wouldn’t approach a painting if I couldn’t see the people within it. We are all unique in our ordinary lives, and I find that deeply inspiring. In order to protect the energy and atmosphere of a scene, I have to mentally place myself there, even if it’s an imagined scenario. That is what keeps me interested - to relive the moment while painting.

WHAT GUIDES YOUR CHOICES IN COMPOSITION, OBJECTS, AND GESTURES TO CONVEY THE ESSENCE OF THOSE INTERACTIONS? DO YOU WORK FROM PHOTOS OR SKETCHES TAKEN AT THE MOMENT?

I work primarily from sketches, both on paper and on canvas, and almost never rely on photographs. My choices are intuitive and driven by memory and sensation - the aesthetic comes from within rather than from documentation.

HOW DID YOUR SPECIFIC ARTISTIC STYLE DEVELOP, AND WERE THERE PARTICULAR INFLUENCES OR EXPERIENCES THAT SHAPED THE WAY YOU VISUALLY INTERPRET HUMAN BEHAVIOR AND EVERYDAY SETTINGS?

My style is still evolving, and I don’t feel ready to fully summarize it. That said, I’ve been deeply influenced by French modernists like Henri Matisse, Édouard Vuillard, and Pierre Bonnard, as well as by the energy of American postwar painting. Contemporary artists also inevitably shape my thinking. I like to test things, read a lot, and allow the work to keep changing over time.

YOU RECENTLY MADE A PIECE FOR 4BYSIX ON A PANEL MADE FROM RECYCLED PLASTIC, HOW DID YOU FIND WORKING ON THE PIECE AND DID THE MATERIAL SPARK ANY DESIRE TO NARRATE ANY PERSONAL EXPERIENCES OR REFLECTION OF CONSUMPTION?

Being highly aware of consumption and sustainability in my studio was what initially drew me to the project with 4BYSIX. Working on recycled plastic made me think more concretely about what can be done with reclaimed materials, and it has stayed with me since. The experience pushed me to further consider how these approaches could be more deeply integrated into my studio practice.

CAN YOU TELL US MORE ABOUT THE IMAGE YOU HAVE DEPICTED ON THE PANEL? WHAT WAS THE MAIN INSPIRATION AND WHAT DO YOU THINK THE WORK REVEALS ABOUT THE HUMAN EXPERIENCE?

This image is a small “zoom-in” that I’ve repainted several times over the past few years, each time with subtle differences. I use the same scenario to test relationships between color and temperament, and this particular piece went through three versions before settling. It holds strong psychological value for me, and I’m very happy with how it turned out.

FOLLOWING 4BYSIX’S FOCUS ON PROMOTING SUSTAINABILITY WITHIN THE ARTS, HOW DO YOU SEE SUSTAINABILITY FITTING INTO YOUR PRACTICE? THIS CAN APPLY TO BOTH THE MATERIALS YOU USE AND THE WAY YOUR APPROACH MIGHT COMMENT ON CONSUMPTION, POSSESSIONS, AND THE ENVIRONMENTAL IMPACT OF THE OBJECTS WE SURROUND OURSELVES WITH.

In a consumption-driven, materialistic culture, awareness feels essential, and every attempt to address it holds real value. I want my materials to become more materially responsible - less processed, reduced in quantity, and producing less waste - while allowing the work to quietly reflect on the objects and habits we surround ourselves with.

LASTLY, LOOKING AHEAD INTO 2026, WHAT’S NEXT FOR YOU IN YOUR PRACTICE? ARE THERE NEW THEMES, TECHNIQUES, OR EXPERIENCES YOU’RE EAGER TO EXPLORE IN YOUR UPCOMING WORK?

I want to continue going deeper and exploring new ways of painting. While I can’t yet point to specific projects, 2026 already feels exciting, and I sense the work moving toward a strong and meaningful place. I’m looking forward to experiencing where it leads.