“My work explores moments of transition: At what point does a single fragment merge into an overarching system? Where is the boundary between design and painting?”

In my painting, each individual image stands as an autonomous work. Simultaneously, every piece is part of a larger whole that remains evolving. 

The works emerge in serial cycles—a methodically reflected, often episodic process that sharpens the focus on interruption, temporality, and change within the image. New works shift the relationships within the existing structure, allowing what is already there to be read and interpreted in a new light.

I work on the floor. This horizontal approach—using acrylic, gouache, and ink on large-format paper—forces an immediate physical connection between the body, the material, and the space.

It is a conscious return to an early, playful sense of primal trust: the creation of one's own worlds and cityscapes on the bedroom floor. In my current practice, this translates into a simultaneous way of thinking that occupies both the minute detail and the overarching whole. The floor is not a passive surface; it is a field of action.

My paintings grow organically. Color is applied, layers are superimposed, and decisions are revised. In a dialogue between intuition and graphic control, every form evolves from the one that preceded it.

Works often emerge in parallel. They form a kind of visual calendar—a diary of my observations, in which every sheet captures the traces of its own creation.

I am interested in the productive friction at the intersection of fine art and applied design. I absorb the visual language of our urban everyday life—from the aesthetics of advertising banners to digital fragments—and transform them into dense, abstract visual worlds.

The 100 x 140 cm format is a deliberate reference to the public poster. It is large enough to exert a physical presence, yet remains approachable on a human scale. It is the translation of the fleeting signs of urban space into the permanence of painting.