Short Artist Statement
In my work, I focus on small, often overlooked moments in which the body reveals something internal.
Hands often play a central role, as their tension, hesitation, or uncertainty can express more than a face.
Before painting, I work in the studio with short, simple movement studies. These create small gestures or
postures that are visible only for a brief moment. These fleeting moments are what interest me. They are not
staged or theatrical, but arise from an inner tension. When painting, I do not try to “reproduce” these
moments, but to translate their atmosphere into a precise, concentrated painterly form.
I look for those quiet, charged moments in which the figure reveals something without showing it directly.
The detailed execution of the painting is meant to make this psychological density perceptible.
Extended Artist Statement
Origins & Motivation
Drawing was part of everyday life at home. My father, a carpenter, and my mother, a tailoress, were constantly
sketching plans and patterns. Yet their drawings always felt abstract or unfinished to me. Maybe that’s where my
desire for form comes from — not just as surface, but as something that holds a deeper presence. I look for what
lies beneath appearance: something you might call a soul or a psychological presence.
Themes & Conceptual Spaces
In my pursuit of underlying realities, I expand my intellectual framework through mythology, philosophy,
and systemic psychology. Psychological tension is the central driving motif, exploring dynamics between
individuals, within groups, and internally. These tensions function as a fundamental compositional element
in my images, bridging both thematic content and formal structure.
Visual Language & Style
I work in a contemporary realism that references the past without getting stuck in it. Much of what I paint
feels like memory — something slightly displaced, yet still present. My figures and elements are often
allegorical; they open up interpretive spaces rather than providing clear messages.
Technique & Materials
Oil painting is my central medium — it allows for the depth and physicality that suits my way of sensing things.
I also work with lithography. The process of printmaking shifts the way I see and lets me approach my subjects
from a new perspective.
Process & Approach
My approach combines intuition and concept. Often one painting leads to the next, like links in a chain. Themes
continue, transform, or resurface unexpectedly. Sometimes an image appears in my mind out of nowhere and won’t
leave until it’s painted.
Contemporary Resonance & Positioning
My work reflects the present, though often indirectly. I try to view current questions through the lens of the past,
placing them within broader contexts. My paintings rarely offer straightforward readings — they aim to suggest,
condense, and leave space.
Reception
What interests me most are the thoughts or feelings viewers bring to the work that shift my own perspective. I don’t
expect my paintings to be understood in a specific way. But I welcome moments of resonance — or even interpretations
I hadn’t considered. They deepen my relationship with the work.
Access to Painting
My path to painting was unexpected. It was actually a fortune teller who first suggested I express myself visually.
My fascination with the mysterious and unseen suddenly found a home. Before that, I played double bass — music gave me
an emotional outlet, but over time, I found sound too fleeting, too formless. Painting, on the other hand, allows me to
give a lasting shape to the intangible — to make the unspeakable visible, and to find a kind of stillness in that.