Each layer remains distinct while contributing to a larger structure that cannot be grasped all at once.​ I avoid narrative cues and descriptive settings. I am not trying to tell stories or depict events. Instead each painting functions as a self contained field of intensity. The works can be entered from multiple points and do not rely on linear progression. This way of working is informed by the idea of the multiverse, where multiple realities coexist simultaneously rather than resolving into a single perspective. The paintings suggest parallel spaces and possible states rather than a unified or stable world. The title Thousand Sheets refers to the ideas developed in A Thousand Plateaus by Deleuze and Guattari. I am interested in concepts of becoming, multiplicity, and non hierarchical organization. These ideas shape how I think about movement, transformation, and connection within the work, not as illustrations but as ways of structuring thought through painting. My approach is also informed by early abstract painting, particularly the spatial experiments of Suprematism and the work of El Lissitzky. His use of floating planes, shifting viewpoints, and constructed space has been important in how I think about painting as an active spatial system rather than a window or a surface. Like Suprematist composition, geometry in my work is not symbolic but operative. It is a tool for organizing tension, balance, and instability.