My artistic practice is grounded in a long-term research project exploring human existence within fragile and unstable environments, where the body appears as a psychological and physical structure suspended between presence and displacement. Working primarily in oil painting, I investigate how the figure transforms under visual and emotional pressure, moving beyond direct representation toward states of internal tension and maladaptation.
Since the early stages of my practice, disassembled chairs have functioned as recurring structural elements, operating as both physical and psychological frameworks that shape the body’s posture and its relationship to surrounding space. In more recent years, isolated hands have emerged as an evolving visual extension within the work, reflecting interruption, vulnerability, and internal strain without becoming direct narrative symbols.
Figures often appear partially formed — distorted, repeated, or visually concealed — not to erase identity, but to expose the instability of contemporary human experience. Sparse interiors and flat color planes act as zones of psychological pressure, contributing to the emotional atmosphere that surrounds the body.
Through the contrast between controlled precision and open expressive passages, the paintings create moments of visual hesitation and existential interruption. My work does not seek to document external appearance, but to explore the distance between internal experience and visual representation within unstable spatial conditions