The Secret Behind My Brushstrokes
A Peek Into My Painting Technique
Color has always been a deep source of fascination for me. Even though I often dress in simple, minimal tones, I’ve always felt irresistibly drawn to the vast spectrum of colors—their meaning, their emotional effect, and the endless ways they can interact with each other.
Since I was a little girl, I’ve never just seen “red” or “blue.” For me, every hue holds layers of emotional and expressive potential. A red could be warmth, passion, danger, or strength. A blue could be serenity, sadness, or infinite possibility. Colors speak to me in a language far beyond what the eye can see.
As I grew older and immersed myself in the art world, I became captivated by the works of the Impressionists—Claude Monet, Alfred Sisley, Vincent van Gogh, Georges Seurat. The way they understood color, how they allowed it to breathe on the canvas, and how they found harmony in the interplay of tones has always mesmerized me.
Today, that inspiration has evolved into my own way of working—a technique sometimes referred to as Open Impressionism. Like the Impressionists, I strive to capture the fleeting essence of a moment through short, expressive brushstrokes. I rarely blend the colors fully. Instead, I leave intentional spaces between each brushstroke so the background color becomes part of the final composition.
These spaces aren’t accidental—they’re the heartbeat of my work. They create a sense of rhythm, allow the painting to “breathe,” and add an emotional depth that connects the viewer to the scene in an intimate way.
To show you what I mean, imagine two similar paintings:
In one, the background is orange.
In the other, the background is purple.
The brushstrokes, shapes, and subject may be the same, but the mood changes entirely. The orange radiates warmth, energy, and vibrance, while the purple infuses the scene with depth, calm, and mystery. That is the magic of my technique—an infinite dance of harmony, contrast, and connection between colors.
Through this approach, every painting becomes a conversation between color and space, light and shadow, the seen and the felt. And for me, that conversation is endless.
