In my paintings, I employ a language devoid of narrative and literalism, yet deeply rooted in emotion.
Using sparse form, subtle light, and a nearly monochromatic palette, I build compositions with a distinct yet subtle rhythm. Lines, their tensions, and shifts form visual phrases, like successive bars recorded in the structure of a painting.
This rhythm gradually reveals itself, revealing what is initially invisible – emotions, relationships, and inner tension. Like particles of pink, yellow, and blue, hidden within seemingly uniform surfaces. A key motif in this work is change, understood not as a sudden rupture, but as a process that unfolds slowly, almost imperceptibly. The repetition of gestures and the rhythm of lines build a cumulation leading to a moment of breakthrough – a quiet, inner transformation. In these paintings, feeling and reflection, personal and universal experience, converge.
The materiality of the works also remains crucial. I use Carrara marble, building rough, grainy, and haptic surfaces. Layers applied in a mantric, focused gesture create a structure that—like ritual—organizes time and thought. Up close, the imprint of a hand reveals itself, imperfect and human. From a distance, harmony and balance.
The paintings clearly echo inspiration from Japanese aesthetics and philosophy, particularly the concepts of ma, the space between, and yūgen, the depth that isn't immediately revealed. These paintings function like Zen gardens. They don't depict reality, but allow us to experience it. They are a space of silence in which every element—line, light, or void—has significance.
