Statement
My works originate from the placement of a figure, which is set onto color-prepared grounds and interwoven with them throughout the painting process. Through layering, overlapping, and the dissolution of contours, the figure shifts from corporeality toward an open, atmospheric presence. At the center lies perception: figures become states that oscillate between presence and dissolution. Tempera on chalk ground and transparent layers of wax create surfaces of particular depth and luminosity. A similar approach is found in my clay sculptures, which are painted in multiple layers of color, allowing material, color, and form to contribute to an overall atmospheric effect. In my artist books, image, text, and material merge into narrative and sensuous spaces. Across all media, pictorial and experiential spaces emerge in which figuration and abstraction interweave, allowing for fleeting, multilayered perception.
Across all media, the figure forms the point of departure in my work. In painting, it emerges on color-prepared chalk grounds and is gradually interwoven with the ground in the ongoing process. Layering, superimposition, and the deliberate dissolution of contours allow the figure to move away from corporeality toward abstraction and atmospheric openness. Transparently applied layers of wax lend the paintings depth, light reflection, and a flowing, fragile presence in which figure and ground merge. Painting thus creates pictorial spaces in which perception, inner states, and fleeting impressions become tangible.
This principle continues in my sculptural work. Figurative clay objects are painted in multiple layers of color, closely binding material, color, and surface. The sculptures are not mere representations of bodies but condensations of inner movements and gestures that oscillate between presence and dissolution. They create spaces in which form, materiality, and mood resonate with one another.
In addition, artist books emerge in which image, text, and material enter into dialogue. Layers of color, print, and painting on paper generate their own narrative and sensuous depth. These works invite a concentrated, reflective encounter and extend the themes of figure, space, and perception into a serial and experimental format.
Across all media, I explore thresholds between figuration and abstraction, between presence and withdrawal, between materiality and immateriality. Color, wax, clay, and paper are not merely used as media but function as active carriers of light, atmosphere, and mood. In this way, spaces emerge in which inner states, memory, and fleeting perception are not fixed but experienced in their mutability—quiet invitations to set one’s own perception and imagination in motion.
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