My work moves between urban workspaces, international projects and maritime contexts. Travel, navigation and working across different environments shape my visual language just as much as water, wind, friction and layering.

I paint what movement feels like. My paintings emerge through pressure and layering: broad, deliberate gestures meet drips, abrasion, scratches and translucent veils. I work between control and release, until movement briefly resolves into a line, a rhythm, a course.

I’m interested in forces that remain unseen yet shape everything. The sea is less a motif for me than a way of thinking. Sailing means reading the invisible: wind fields, gusts, pressure, currents, timing. Decisions are made in the moment, responding to change, holding a course while everything is in motion. This is precisely where my work begins.

I don’t tell stories about water. I work with the same principles: friction, direction, drift, compression and changes of course. In large-scale works, painting becomes a form of navigation. A direction is set, then the process of responding, shifting, compressing and removing begins. Layer by layer, surfaces emerge in which time becomes visible — drips as traces of gravity, abrasion as memory, lines and arcs like routes through an open field.

Alongside painting, I also work with sculpture, photography and multimedia formats. I’m interested in the diversity of forms of expression as much as in the inherent logic of materials. Surface, density, transparency, resistance and trace are not secondary concerns, but carriers of meaning. Image, space, material, sound and light can reinforce one another — translating intensity into a form that does not explain, but holds.