As an image maker I gravitate towards painting as a medium. Established syntactical diversity in material and content provide a rich opportunity to scrutinize the function of images and the nuances of human experience. Close inspection of visual experiences tends to reveal that perception is modified by our physiology, memories and knowledge. These factors are in turn, affected by our physical and cultural environment. The images I create depict highly sensual experiences where these modifications and affectations are amplified. The resulting visualization is like a knot where echoes of past experiences and knowledge entangle with sensorial stimulation to produce complicated sensations. Beyond the five senses, the images play on other senses like movement, balance and existential instability. While the inspiration is pulled from real experiences, it is translated through a painterly discourse that acknowledges the role of image making conventions in the shaping of what and how we see. Cues from well-established conventions of painting, photography, and digital processing culminate in a visual language that helps tease out the aforementioned distortions and display the entanglement of human biology and culture.