About

My work develops pictorial environments in which the human figure is not represented as a fixed
identity, but as a body shaped, distorted, and reconfigured by its surroundings.
While some works are informed by literary sources such as Émile Zola, Victor Hugo, Charles
Dickens, and Somerset Maugham, they do not function as illustrations. Instead, these
references act as points of departure for constructing autonomous visual systems in which
psychological states, social dynamics, and spatial conditions intersect.
I am particularly interested in human psychology, inequality, and the ways individuals are
shaped by the conditions imposed upon them. Through the lens of these writers, I reflect on how
societies treat their citizens—not by depicting specific narratives, but by translating these
concerns into material and visual relationships between bodies and environments.
An important aspect of my formal language is the transformation of natural forms into hybrid
figures. Shapes derived from flowers, trees, and plant structures are reconfigured into bodily
elements, allowing figures to emerge as unstable, organic constructions. This process reinforces
the sense that the human body is not fixed, but continuously shaped by both internal and
external forces.
Through layered, tactile surfaces and unstable figuration, bodies emerge as provisional forms—
compressed, eroded, or absorbed into architectural and material structures. Figures may appear
seated, walking, serving, or suspended, yet these positions do not describe narrative action;
rather, they reveal processes of transformation, constraint, and adaptation.
My practice is rooted in painting as a material process. Colour and texture are not descriptive
tools but active forces that shape the figure. The surface operates as a site of tension where
bodies and environments continuously influence one another.
This approach lends itself to site-responsive work. I am particularly interested in spaces that
carry layered histories, where architecture bears traces of different functions and lived
experiences over time. Within such contexts, painting can operate as a means of reactivating
memory—not through representation, but through the construction of new perceptual and
psychological relationships between body and space.