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Artist statement

I’m a multidisciplinary artist (painting, installation and street-art). 

I focus on “site-and-time-specific” works, informed by where and when each work is made.


In a deliberately responsive and spontaneous practice, I deploy somatic tools to engage directly with my surroundings and let sensory input

inform artistic decisions. Works are made as performances becoming the tangible evidence of a transient event. 

The body becomes the conduit through which the raw intensity of expression is registered.

In the streets, it acts as a component of the composition. In the studio, large canvases are laid on the floor, marks and gestures appear on the canvas in relation to the body's movement through space, brush strokes are synchronized with breath, sounds determine textures,

density of layers is influenced by the view from the window.

I’ve been honing this technique for twenty years, alongside a mindfulness practice, but the fascination with the immediate and the visceral started many years before. As a child, I lived through a near-death experience during an open-heart surgery. That event shaped not only my worldview
but the very way I work today. The urgency with which I create is fueled by an embodied understanding of impermanence.


My works investigate the multifaceted aspects of trauma and healing, posing a foundational question: can painful experiences serve as transformative catalysts? Having experienced the connection between life and death, teetering on that threshold, compelled me 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, these contradictory notions can form symbiotic relationships, 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. Yet I strive to go beyond the resolution of opposing forces and into a place of raw experience, where awareness of life, in its myriad of expressions, unfolds from moment to moment. 

This informed two major life-decisions: to work in diverse fields (‘white cubes’, the ‘streets’ and in nature), and later on, to become an artist-nomad,

on the move since 2017. As art and life became intertwined and change became the only constant, the process remained the same.

My works are not predetermined, but rather context-based. The work became a stage where the fleeting plays out and takes form.

It’s a life-choice and an artistic commitment, ongoing and all-encompassing. A continuous conversation between internal and external landscapes.

* * *

Breakdown of series over the years

My process has always been 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 (artistic and meditative), and all the way to where the works are being exhibited.

The Beginning:

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, action-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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