Painting as a slow field of perception.

My art practice is centered around the creation of artworks that unsettle the viewer's perception. I research visual languages that navigate a balance between abstraction and figurative art.

One might ask: what is the importance of this visual ambiguity I strive for? I find it essential that an artwork demands the viewer's presence and immersion in an age that is characterized by the constant and excessive flow of visual stimuli. This kind of visibility makes an erotic reading of the images impossible, as desire arises from absence; thus they become pornographic in the sense of total visibility, leaving nothing to be discovered. Figurativity offers readability, narrative, and instant recognition, whereas I aim to address the senses through my works. I want to maintain the visual tension of my works by prolonging recognition or making it completely impossible.

We take the perception of an image for granted, and once we recognize something, we start to look for meaning. If I were to turn to complete abstraction, my works would be nothing more than visual code, and if I were to depict figures and objects, I would struggle to prevent my pictures from being read and interpreted.

In the Jouissance series, I depict fragmented forms as if in a state of creation, not quite certain whether they emerge from or submerge into the background. The final image is the product of the interplay between my control over the material and chance. All I ask is that the audience experience the paintings on a bodily level, rather than search for narrative or meaning behind them.