Biography
My practice is built around memory, childhood, and the fragile balance between reality and imagination. I work with painting, objects, ceramics, and video, combining figurative imagery with the disrupted geometry of space.
In my work, naivety is devoid of dark undertones; the images are bright and gentle, often
imbued with a soft nostalgia for childhood, dreams, and a lost sense of spontaneity. I create imaginary children, clowns, landscapes, and still lifes, juxtaposing different pictorial planes to convey the inner dynamics of memory and emotion.
Material holds great significance for me; it becomes an integral part of the artistic statement. Instead of conventional canvas, I use coffee sacks, tarpaulin, sand, jute, paper, and other textured surfaces. I hand-stitch pieces of burlap or tarpaulin together beforehand. I do not hide the seams, irregularities, or traces of handwork on the reverse side; on the contrary, they create a resistance to the image and preserve a sense of "imperfection." In my painting series, I seek a balance between structure and freedom, between the visible and the felt.
In my video art, I explore time and the possibility of abandoning a mandatory narrative—a concept taught to me by great masters of filmmaking. A static or extended image becomes a space where the viewer can construct their own narrative and become a co-creator.
Biography
My practice is built around memory, childhood, and the fragile balance between reality and imagination. I work with painting, objects, ceramics, and video, combining figurative imagery with the disrupted geometry of space.
In my work, naivety is devoid of dark undertones; the images are bright and gentle, often
imbued with a soft nostalgia for childhood, dreams, and a lost sense of spontaneity. I create imaginary children, clowns, landscapes, and still lifes, juxtaposing different pictorial planes to convey the inner dynamics of memory and emotion.
Material holds great significance for me; it becomes an integral part of the artistic statement. Instead of conventional canvas, I use coffee sacks, tarpaulin, sand, jute, paper, and other textured surfaces. I hand-stitch pieces of burlap or tarpaulin together beforehand. I do not hide the seams, irregularities, or traces of handwork on the reverse side; on the contrary, they create a resistance to the image and preserve a sense of "imperfection." In my painting series, I seek a balance between structure and freedom, between the visible and the felt.
In my video art, I explore time and the possibility of abandoning a mandatory narrative—a concept taught to me by great masters of filmmaking. A static or extended image becomes a space where the viewer can construct their own narrative and become a co-creator.