A surface without a surface.
Contemporary abstract paintings on canvas created through a dialogue between analogue studio practice and generative image processes. Produced to order on museum-grade canvas, each work is designed to preserve the depth, texture and spatial qualities of the original image.
Aerial Gestures explores the feather as a form of quiet precision. Light, fragile, and highly structured, it holds an extraordinary capacity for movement, balance, and endurance. The series is shaped by the interplay between delicacy and strength: how such a subtle material can carry force, distance, and control. Each work lingers in the space where form becomes gesture, and where stillness begins to suggest motion.
These houses are memories of places that never existed.
Rooms are softly constructed, almost floating—balanced between calm and quiet tension. Paths lead through a landscape that is both strange and familiar. Utopia Walks creates places that invite reflection.
Drift Fields reveals a bodily sense through atmosphere. Fragments of moments surface, gently held and subtly charged. An exact mood lingers beyond the image.
My analogue practice unfolds across different media as a continuous process shaped by lived states—psychological, bodily, and spatial. The works emerge from moments of tension and suspension, where vulnerability and structure coexist, and presence often appears through absence.
Images form as traces rather than statements. Silence, duration, and inner movement act as active elements, allowing meaning to remain open and transformation to unfold without insistence.
This work arose from a movement that is not yet complete. The layers are snapshots of an inner climate: permeable, in constant flux, soft. It listens: to transitions, to pauses, to the in-between. As the starting point for the Drift Fields series, it opens up a space in which orientation remains fluid. The work has been presented in a group exhibition „Breath“ at The Czong Institute for Contemporary Art (CICA) located in Gimpo, Gyeonggi Province, Korea 2025
The brutality of simplicity: one camera, one person, one element. And yet the scene charges itself like a memory. There is no dramaturgy. Just a body moving through a medium that is both possibility and resistance. The film appears within a spatial setting:
a shallow, pool-like aluminium basin, a suspended projection above it. The water surface remains unstable, subtly disturbed. A second space stays partially hidden, light, a narrow opening, fragments of voices without clear origin.
Motherhood
Motherhood is an inventory of uncertainties, a tableau of objects that were never intended to be art. It reveals the economics of motherhood not through pathos, but through material. The arrangement is reminiscent of natural history collections.
A paradox: a structure that appears to have grown organically—and yet is entirely mental. These ramifications are reminiscent of neural maps, halo, a silent metaphor for interwoven thinking in our time. The work has been presented in an international group exhibition at Boomer Gallery, London, UK.
Fracture 1–3
These three works make movement appear as something that lingers. One gets the impression that decisions have already been made here, yet they continue to work—in the layers, in the overlaps, in the slight shifts in the trace. The lines seem to negotiate with each other: they carry, they support, they come under pressure. Fracture 03 appears in the publication A Like Artist – Volume 03 by Al-Tiba9 (Barcelona)
Service Girl is a sculptural self-portrait.
A title that arrives before the body.The lettering emits just enough light to be read. Like expectation settles quietly here,
visibility kept low. An anti-neon sculpture.
