statement
My practice is rooted in the conviction that painting can think in ways that precede language. Rather than illustrating concepts, I use the act of painting to construct situations in which tensions, contradictions, and unconscious structures remain active instead of being resolved into fixed meanings.
Over the past decades I have developed this research independently, moving across media and contexts while maintaining a continuous focus on the material and cognitive possibilities of the image. My works emerge through prolonged engagement with process, where intuition and reflection are not opposed but operate as different expressions of the same activity.
Projects such as “Paradise Without Outside” extend this investigation beyond the individual object into spatial constellations that invite the viewer to inhabit ambiguity rather than decode a predetermined message. Meaning is generated through encounter: between image and observer, presence and absence, order and disruption.
I do not approach painting as representation but as a site of transformation. The work seeks to create conditions in which inherited patterns—perceptual, emotional, or conceptual—can be suspended and reorganized, allowing new relations to emerge.
My independent trajectory has enabled a long-term commitment to this line of inquiry, resulting in a coherent body of work that prioritizes internal necessity over stylistic consistency or external validation.
