Every drawing and painting begins where language fails. My work grows from the edge of clarity, from moments where reality becomes overwhelming, where perception surges without a filter, and where the body must hold what the mind cannot digest.

I do not try to depict what is seen. I try to reveal what is felt, often beneath awareness, before it can become thought. The themes return again and again: existential pressure, fragile hope, confinement, desire for release, the weight of flesh and the longing to rise beyond it. Yet I do not approach these ideas through theory. I approach them by hand.

The surface becomes a place to test what the psyche can endure. Graphite, ink, charcoal and paint are pushed, erased, layered, sanded and rebuilt until a psychological state begins to appear. Forms rise between realism and obscured memory. Wings that cannot lift. Hearts held in tension. Bodies merging with each other or dissolving into abstraction. They are not characters. They are conditions.

A recurring point of origin is the moment when reality arrives too quickly. Impressions flood in all at once, without sequence or filter. Not fear, but intensity. A forced clarity that leaves no space to breathe. That is where many pieces begin.

Yet something quiet keeps resisting the collapse. Beneath the pressure there remains a small and necessary hope. Not romantic. Not naive. A simple insistence on staying alive in the presence of what hurts. My work turns around this tension: the limits of the body, the reach of the mind, and the quiet refusal to surrender.

These works do not search for answers. They try to stand inside the question long enough for it to speak.

Welcome to the inner landscape, where fragility and defiance share the same pulse.

Method

Technique/Procedure:

Each work begins as a question – not about form, but about the body, the psyche, and what pressure does to both. The drawing or painting is never simply illustrated. It is unearthed. I approach the surface as a field of investigation rather than a blank page.

The Medium as Skin

I work primarily with graphite, ink, charcoal, and paint, often on large formats.
Paper and canvas are treated as living surfaces – something that can be bruised, layered, erased, rebuilt. I draw, sand, smudge, carve, and rework repeatedly until form begins to appear. This process is slow and physical. Each piece is wrestled into existence, not designed.

Emergence Through Subtraction

Shapes rarely begin clearly. They are allowed to emerge – gradually, sometimes reluctantly. I remove as much as I add. Light is found through damage. Shadows are compressed until they become weight. The final form often feels discovered rather than composed – as if it was already present, waiting under the surface.

Symbolic Anatomy

Recurring elements – strings, feathers, broken wings, geometric forms, anatomical hearts – act less as motifs and more as psychological states. They express confinement, resistance, transformation. Beauty appears, but never untouched. It arrives carrying the marks of effort.

The Purpose

I aim for the viewer to feel first, understand later. Technique serves only this:
to create a direct physical response – to let the body recognise something before the mind names it. My work is built to hold tension: fragility and force, pain and beauty, constraint and emergence.