Instability and transformation are central themes in my paintings. These ideas come from personal experience, shaped by moving across countries and shifting between disciplines, and find expression through the materials and processes I use. To embody change, I work with pigment powder, water, and gravity, allowing their interactions to reveal a natural, unpredictable instability. This process is impossible to reproduce: each painting becomes a unique imprint of a moment in time, a record of flux, like a stamp of the present.

 

I begin painting by relinquishing control, allowing the materials to move, react, and settle on their own terms. I treat them as collaborators rather than tools. Only after this initial phase do I intervene, adding multiple layers and returning to the piece over several days. This slow, layered method allows the instability to remain present in the work rather than be resolved or resisted. It becomes a way to express something in motion on a fixed surface.

 

The resulting forms occupy a liminal space between the personal and the universal, evoking geological formations, patterns of erosion, or cellular structures at both macro and micro levels. From a distance, they suggest vast shifting landscapes; up close, the delicate interplay of pigment and water reveals the raw agency of the materials.