STATEMENT

My work is rooted in a deep affinity with the earliest expressions of human creativity. I am drawn to archaic and pre-modern art not only for its formal simplicity, but for the spiritual intelligence embedded within it — the sense that each mark, gesture, and object carried a purpose beyond representation.

In the earliest cultures, the maker was also the mediator: someone whose inscriptions and signs operated at the threshold between the visible and the unseen. Their marks — lines, grids, symbolic traces — appear abstract to us today, yet they were conceptual in intent and functional in effect. Creation was inseparable from action; image and operation were one.

A similar dynamic guides my own process. I begin with a clear intention — a direction or inquiry — but the work does not aim to illustrate it. Instead, I deliberately suspend linear reasoning and allow materials to move beyond the initial idea. Through this shift, intention is transformed rather than executed; it dissolves into a state where gesture, texture, and chance form something autonomous, something that carries its own internal order.

Through layering, erosion, and accumulation, I create surfaces that feel unearthed rather than composed — as if they belonged to a lineage older than myself. Whether working with pigment, clay, or asemic inscriptions, I treat each work as an inquiry into the beginnings of image-creation itself: how meaning arises before language, how a mark can act as well as signify, and how matter holds memory. This is achieved through complex material stratification, combining acrylics, inks, and metallic pigments with organic media like ash, salt, spices, and bioconstituents such as spirulina. My works aim to inhabit the threshold where form becomes symbol — echoing the ancient impulse to create not merely as expression, but as engagement with the world.