the artist
Painting is a way of keeping the light.
A short account of how the work is made, why it looks the way it does, and what the studio is trying to hold onto.
A portrait or working photograph of the artist will sit here.
A second studio photograph will sit here.
Replace this with the artist's own words. What follows is structure, not copy — keep the shape, change everything else.
How the work begins
Most paintings start from something ordinary: a wall at a particular hour, a reflection that lasted four minutes, the way a room goes gold and then goes out. The studio keeps notes rather than photographs, because a note remembers the feeling and a photograph only remembers the facts.
How it is built
Layers, and patience. Thin grounds first, then oil worked into cold wax, then months of waiting between passes. Some of the surfaces here took a year. None of them were finished quickly, and that is the point — the light in a painting has to be built up, the same way it is in a room.
Nur means light. Not brightness — light. The kind you notice because it is leaving.
Why three ways to own it
Not everyone who wants a painting can take the original, and not every wall needs one. The archival prints exist so the work can travel further than a single canvas allows, and the digital editions exist because some collectors would rather choose their own printer and their own size. The studio would rather the work be seen than be scarce.
Where it goes
Works from the studio are in private collections across Europe, North America and the Gulf. Commissions are taken a few times a year, usually for a specific wall in a specific light.
first access