Statement

I

n my work, the figure serves as the point of departure across all media. In painting, it emerges on colour-prepared chalk grounds and becomes interwoven with the surface as the process unfolds. Layering, superimposition, and the deliberate dissolution of contours allow the figure to shift from the corporeal toward abstraction and atmospheric openness. Thin, transparent layers of wax add depth, light reflections, and a flowing, fragile presence in which figure and ground merge. In this way, the painting creates pictorial spaces in which perception, inner states, and fleeting impressions become tangible.

This principle continues in my sculptural practice. Figurative clay pieces are painted with multiple layers of colour, binding material, pigment, and surface closely together. The sculptures are not mere representations of bodies but condensations of inner movements and gestures that oscillate between presence and dissolution. They create a space where form, materiality, and mood enter into resonance.

In addition, I create artist books in which image, text, and material relate to one another. Layers of colour, print, and drawing on paper generate their own narrative and sensorial depth. These works invite focused, reflective engagement and extend the themes of figure, space, and perception into a serial and experimental format.

Across all media, I explore the thresholds between figuration and abstraction, between presence and withdrawal, between materiality and immateriality. Colour, wax, clay, and paper are not merely used as media but 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 become perceptible in their mutability—quiet invitations to set one’s own perception and imagination in motion.