Art Statment

My practice is rooted in the forms and processes of nature, where collecting and observing are fundamental. I move through natural environments, bringing back fragments—small finds, structures, and shapes—to the studio. There, they are transformed through drawing, photography, and further processing, serving as inspiration for painting and sculpture.

In a contemporary context marked by speed and an overabundance of ready-made images, I seek a slower, tactile, and reflective process. By lifting forms out of their contexts and reshaping them, I aim to create a more attentive and experience-based relationship with nature. The tactile encounter with the material becomes central, where seeing is allowed to take time and understanding emerges through making.

I work in parallel with collage-based painting and sculpture in corrugated cardboard. Construction is key: I build up, break down, and allow each layer to remain visible. The materials are active—they guide, limit, and open up new directions. Through repetition, fragmentation, and displacement, the collected material is transformed into something beyond direct representation. The line functions as a recurring tool, both as structure and movement, and may evoke organic, anatomical, or topographical forms without being fixed to a single interpretation.

My works create situations in which the viewer is invited to navigate between the recognizable and the indeterminate. The ambition is to activate a more attentive way of seeing—to pause, notice the simple, and reconnect with an awareness of nature as our origin. By regarding portraits as landscapes and landscapes as portraits, a space opens where humans and nature are no longer separate but fold into one another. The image becomes a site where inner and outer landscapes meet, and where meaning gradually emerges through the act of seeing.