Artist Statement

I work across painting, drawing and sculpture, beginning with images that have already lived. Rather than observing the world directly, I work through cultural memory—mythology, European painting, cinema and literature—not as subjects to reproduce, but as visual structures to dismantle and reconstruct.

My work centres on asymmetrical relationships: the unstable territory where intimacy, dependency, desire, power and vulnerability become inseparable. I am less interested in narrative than in the forces that exist between bodies. My paintings do not describe events; they compress their emotional residue. Bodies lean into one another, fracture, support, resist and collapse, becoming fields through which psychological tension is made visible. Composition is never illustrative; it is the primary bearer of meaning.

Compression is fundamental to my practice. Figures condense into sculptural masses where individual identities dissolve and relationships acquire physical weight. Colour is never descriptive. It acts as an active force, reorganising the surface and carrying emotional pressure across the painting. Drawing remains visible within the painted image, preserving the immediacy of gesture while allowing construction and erasure to coexist.

Whether working in oil, marble or bronze, I pursue the same visual language. Sculpture is not separate from painting but another way of thinking through compression, gravity and bodily presence. Across all media, I seek images that no longer belong entirely to their historical origins nor fully to the present, but occupy the unstable space where inherited visual memory encounters contemporary experience.