I work primarily in painting, moving freely between figuration and abstraction without privileging either. The scale of the work is determined by necessity rather than preference: most paintings are small and made with oil or tempera on paper, while certain images require the physical and visual weight of a larger canvas.

My paintings often begin with fragments—images taken from old magazines, newspapers, or the internet—combined with things I have imagined or encountered in daily life and photographed. These sources are not treated as references to be translated faithfully, but as raw material. Through a slow process of layering, alteration, and displacement, the original image gradually loses its authority and a new one emerges.

There is no fixed method guiding the work. I move back and forth between intuition and construction, allowing the painting to resist resolution. Color plays a central role in this process: bright and bold palettes create tension within the image, pushing against clarity and coherence rather than reinforcing them.

Many paintings remain unfinished for long periods of time. I keep them stored away, allowing distance and time to reshape my understanding of them. When I return—sometimes months or years later—the final decisions are informed as much by memory and absence as by what is physically present on the surface. In this way, the work reflects a process of accumulation, interruption, and return.