In my paintings I explore how the physical distortion of an image of people can represent psychological deformation and tension in their lives. I want to express the interiority of my subject which goes beyond the appearance captured by logical perception.By crumpling a photographic image by hand my physical forces and energies are directly transcribed onto the surface. Through the process I have gained more control over meaning and created an object as a reference point that acts as a substitute for the subject I am exploring. In the series of novelists, I intend to convey the atmosphere of the novels. My reconstruction of the author comes from the works and characters they create in particular novels. I hope that the paintings contain a resonance of how the writer’s characters have affected me. Through shifting spatial perspectives and alternating between the verisimilitude and the abstraction I make a psychological portrait which is altered and transformed by my subjectivity. I pursue unpremeditated forms which arise from both the deliberate distortion, by heightening the tension between the figure and the ground, and by diverse mark makings. Leaving raw canvas in paintings, for me, conjures a sense of the deep and open space, which I feel belong with these figures.The distorted figure could deliver all the sufferings as Gilles Deleuze explained about Bacon’s painting: “Meat is not dead flesh; it retains all the sufferings and assumes all the colours of living flesh. It manifests such convulsive pain and vulnerability, but also such delightful invention, colour and acrobatics.”As well as the literature that motivates my painting I have also been influenced by artists such as Goya, Soutine, Dana Schutz, Maria Lassnig, William Daniels, M. Dumas, Matisse and Bacon.