Work
5 themes inform my practice:
2. Reactivation instead of reconstruction
3. Meaning at the margins
4. Intuitive and embodied artistic practice
5. The image as a primary carrier of knowledge and memory
My work is explored through its central question: “What does it mean to be human | in relation to knowledge, memory, and image?”
I aim for non-discursive, intuitive, and symbolic forms of knowledge transmission over purely rational or linguistic ones, drawing parallels between contemporary art practice and ancient global traditions.
The Aperture
My work emerges as a disciplined attempt to access the superconscious through a deliberately narrowed aperture. Rather than remaining passively open to the infinite, I choose to engage through a focused point of entry, refining my ability to interpret and not merely absorb. This decision marks a shift from mystification to experimentation, from passivity to creative precision. Let’s call it an aperture
Experimenting with media
I am not following the pursuit of a singular, resolved artwork. Instead, I am generating a living body of gestures, forms, and signals—each a speculative fragment in a larger inquiry into what it means to be human. The aim is not to create finalities but to generate velocity and vitality. Creativity here is not a perfected output, but a spiritual practice, an ongoing energetic state. It is not finished and set aside.
Painting as a metaphysical engine
In this practice, paintings are not objects but proposals—portals that open space, collapse time, and reorganize perception. They simulate truths we cannot otherwise articulate with language or linear thought. Painting functions as a metaphysical engine: it duplicates, echoes, remembers. It transforms the formless into form, the invisible into trace.
Artwork misplaced, destroyed, or painted over
In this practice, the artwork is never a final product. A painting may be altered, painted over, or allowed to disappear altogether. Its existence is not fixed but contingent. I see the object—whether painting, sculpture, or drawing—as a temporary manifestation of an underlying essence. The symbol it carries is not the form itself but the concept that animates it; an invisible, intangible presence that lives in imagination. What is seen on the surface is only one phase in an evolving iconography.
Multi-dimensions
In my practice, symbols are multidimensional. What appears in 2D or 3D form is only a representation, an echo of something that exceeds dimension. The real symbol might exist across perception planes we cannot fully access, only invoke. Each work is an invocation. A surface is just one place it lands.
Rationalizing it *that which I’ve just done…?
Whether approaching the sacred or the profane, I view painting as an alchemical interface between consciousness and matter. It is where language fails and energy begins. And it is through this engagement—this series of narrow yet charged thresholds—that I continue to ask the same question in different forms.