My practice is rooted in painting, which I approach as both an intellectual and bodily attitude —an act of seeing and perceiving that allows me to explore themes of nature, nostalgia, ecology, and transformation.
At its core is an evolving archive of drawings, studies, photographs, writings, and organic remnants. These collected objects spark unexpected connections, guiding my work in unforeseen directions.
I am particularly drawn to the concept of defamiliarization, as described by Viktor Shklovsky in Art as a Technique (1917). His idea that art exists to “make the stone stony” aligns with my approach: extending perception beyond the familiar, shifting everyday imagery into eerie and evocative visions. In my studio, I experiment with compositions of objects, allowing them to surprise me with new meanings and interpretations.
The materiality of painting is central to my process. Its slow execution mirrors my act of observing collected objects—their textures, transformations, and latent narratives. The decay of organic materials introduces an uncanny sense of surprise, deepening my engagement with theoretical discourses. This interplay between materiality and transformation draws me to alchemical and psychological concepts like nigredo (Yourcenar, Jung, Hillman) and ecological theories (Morton, Reclus), both of which inform my depiction of organic matter in flux. Similarly, the dreamlike, nostalgic atmospheres in the literature of Cărtărescu and
Volodine influence my approach to creating images that feel both familiar and alien.
Recently, my urge to represent everything around me has expanded my field of vision, pushing my practice beyond the canvas into an interdisciplinary realm that integrates installation and sound. Sound introduces a fluid, unsettling presence within environmental installations, its movement creating a sense of waiting and friction that contrasts with the stillness of the painted surfaces.
