My work moves between urban workspaces, international projects, and maritime experiences. Travel, navigation, and working in diverse contexts shape my visual language, as do water, wind, friction, and layering.

I paint how movement feels. My paintings emerge from pressure and layering: large, clear gestures meet drops, abrasion, scratches, and transparent veils. It's a process of working between control and letting go, until a line, a rhythm, a course briefly emerges from the movement.

I'm interested in forces that aren't immediately apparent but influence everything. For me, the sea is less a motif than a model for thought. Sailing means reading the invisible: wind fields, gusts, pressure, currents, timing. You decide in the moment, react to change, and maintain your course even though everything is in motion. That's precisely where my work begins.

I'm not talking about water. I work with the same principles: friction, direction, drift, condensation, and changes of course. In large-format works, painting becomes a form of navigation for me. A direction is established, then the reacting, shifting, condensing, and subtracting begins. Layer upon layer, surfaces emerge in which time becomes visible—drops as traces of gravity, abrasion as memory, lines and arcs like routes through an open field.

Besides painting, I also work sculpturally, photographically, and in multimedia formats. I am interested in the diversity of forms of expression as well as the inherent logic of materials. Surface, density, transparency, resistance, and trace are not secondary considerations for me, but rather carriers of meaning. Image, space, material, sound, and light can reinforce one another—and translate intensity into a form that does not explain, but rather conveys.