Visual Art

What interests me in painting is the possibility of working with everything at once. Where in music memory is of the essence, as it unfolds as a time series of events, painting allows me to focus on a single moment and on how forms, gestures, and colours interact within a fixed frame. I’m drawn to situations where no element clearly dominates, but where different layers press against one another and remain in tension.

I often work through layering and revision. Marks are added, erased, and overwritten, not in order to clean them up, but to allow their history to remain visible. Colour usually develops gradually: muted fields create a kind of resistance, while more saturated colours appear as points of pressure or rupture. I’m less interested in harmony than in friction, and in how colour and gesture can unsettle one another without collapsing.

Many of the paintings hint at figuration without ever letting these anthropomorphisms fully develop. Bodies, landscapes, or structural forms may appear briefly and then dissolve again. I want this uncertainty to remain active. The paintings are not meant to resolve or explain, but to test density, hierarchy, and balance, and to see how much tension can be held within a single, static moment.

All dimensions are given as “height x width x depth” in cm.