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Artist statement

I’m a multidisciplinary artist, working with painting, installation and street art.

My story begins in the little, rural city where I was born, but ends up spanning a hundred cities, across five continents.

As a child I lived through a near-death experience, during an open-heart surgery.

This event shaped not only my worldview, but the very way in which I work.


The urgency with which I create is fueled by an embodied understanding of impermanence.

My works investigate the multifaceted processes of trauma and healing, posing a foundational question:

can painful experiences serve as transformative catalysts? 

Having experienced the visceral connection between life and death, teetering on that threshold, I feel compelled to explore dichotomies

inherent in existence - the clash between internal and external realities, fragility and resilience, beauty and decay.

When transformed into a creative process, contradictory notions such as these can form a symbiotic relationship,

allowing for agency, balance and release to occur. 

My practice is grounded in Symbiosis, in the possibility of a whole that includes the broken parts.

Moreover, one that can only be made whole by this inclusion. The process is multidisciplinary in every aspect, from the mixed-media materials

(acrylic paints, markers, industrial mediums, thread, fabric, duct-tape), to the integration of various techniques and tools,

and all the way to where the works are being exhibited. 

 

This inclusive mindset is at the heart of the decision to work in parallel fields – the ‘white cubes’, the ‘streets’ and in nature.

In each arena, the process is deliberately site-and-time-specific, which means the works are not predetermined,

but rather context-based, responsive and spontaneous. The same mindset also informed the decision to become a nomad for the past seven years, constantly on the move in different countries, without a permanent homebase. It’s a life-choice but it’s also an artistic commitment,

ongoing and all-encompassing. It’s a performative way of living that facilitates unmitigated experiences and the immediacy of being ‘here and now’.

In turn, that “nowness” is circled back into artistic reactions, perpetuating art and life, again and again.

 

My mindfulness practice serves as a guiding technique: by integrating somatic tools into the creative process, I engage directly with my surroundings and let the sensory input inform my artistic decisions. In public, the works are the tangible results of transient performative actions.

In the studio, large canvases are laid on the floor so that the gestures can be intrinsically connected to the body’s movement through space,

brush strokes are synchronized with breath, sounds determine textures, tone and density of layers are influenced by the view from the window. 

The work becomes a portal into existence, each stroke telling a story of power and choice, and the process becomes a stage where life’s different expressions play out. These raw experiences register without hierarchy: they come, appear and disappear by their own accord.

Some take shape, form into lines, colors, textures, while others move on without leaving a physical mark. 

Art is made as a fleeting, dynamic event, an inner dialogue with an external landscape.

* * *

Breakdown of series:

The early Paintings ("Red Heart", 2007/8 and 2009) are naïve drawings of bodies and situations, subtle yet disturbing. Minimalist figures floating
in white spaces. With time, layers appear ("Illusions & Reality", 2010-2012 and 2013), representing the struggle to resolve past, present and future.

In these years I practiced a slow Sisyphean process, in which I was working for months on each piece. 

Then a change took place, and my practice shifted into a dance-like rituals. ("Release", 2014-2016). These paintings were done in one continuous session. Each session took between a day to three days of working continuously. 

 

The Serendipity Experiment 2017-2021

Between 2017 to 2021 I was immersed in an experimental performance. Together with my partner I traveled across the USA, over 100,000 km (60,000 miles), creating site-specific works in public spaces, daily. 

Living on the road for four years (of which two in the pandemic), all the while dedicating myself to “the unknown” as a guiding tool, herald another big shift in my process. It changed the way I perceive stability, home, possessions, necessity. It altered the way I lived and subsequently, the way I created.

The Unimaginable Horizon 2022-2023

Thus, my return to the studio in late 2021, uncovered the tantalizing realization that this journey of serendipity, fundamentally changed my work. Inspirations and techniques that I had previously relied on now felt rusty, irrelevant. I couldn’t just pick up from where I left off, but rather, had to allow the full breadth of my experiences to manifest directly onto the canvas. Free of the need to adhere to one "coherent" idea, an uninhibited creativity was unleashed. So far, I’ve painted fifty paintings, intuitive works that represent a form of cartography – to places within and without, familiar and unknown –they can be read as maps to blocked paths and new roads.

The Shanghai Series June - 2023

Mixed media, abstract paintings, that were created at the Swatch Art Residency, between June-Sep 2023.
All done through the aforementioned site-and-time-specific practice. Each piece was directly influenced by the experiences on the day it was created -
the time (day or night), the season (typhoon season), the sounds from the streets around the Peace Hotel Building, the people passing by, the views of the Bund, and the reflections on the Huangpu River.

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