Since childhood, I have experienced the world through an overwhelming sensitivity of the senses. Light, sound, touch, scent, and emotion struck me with a force that was often difficult to bear. Sensation was not merely a vehicle for perception. It was the condition of existence itself. In response, I longed for simplicity and stillness.

But as the world grew increasingly fast and complex, my practice became a way to survive it. It became a philosophical and aesthetic response to the flood of stimulus that defines our era.

 

My work begins at the threshold where sensation and being meet. I seek to capture the prelinguistic and unformed moment, before meaning settles, by creating spaces where perception remains open and fluid. Moving between painting, sculpture, and installation, I treat materiality, space, and light as living phenomena. Metal, a material often associated with rigidity and industry, becomes in my hands a responsive surface, alive with reflection, memory, and transformation. Through repeated gestures, the material softens, absorbs time, and reveals emotion.

 

For me, painting is not the construction of image but the mapping of sensation. Shapes and colors on the canvas do not represent the world. They emerge from memory, emotional resonance, and inner rhythm. Natural forms such as trees, plants, light, and soil do not mimic nature. They appear as traces of affective memory, hovering at the edge of consciousness.

 

My practice draws from Eastern aesthetics, especially the values of flow, negative space, and temporality. I resist harmony in favor of fracture, tension, and dissolution. In these unstable spaces, sensation becomes heightened and meaning remains unfixed.

 

In a postdigital age marked by the excess and acceleration of imagery, my work advocates for slowness, depth, and embodied perception. I hope to offer spaces where viewers can dwell, encountering sensation before language, and rediscovering themselves as perceptive and feeling beings in the world.