I work with painting as a space of action. What is depicted is not the only thing that matters to me—how it is made is equally important. Color is my primary tool of expression. I think through color, feel through color, and from working with color the images and rhythm of the painting emerge. In this sense, I am first and foremost a colorist, and my decisions stem from the emotional and structural potential of color.

I often use figures with masks. The mask is not a form of concealment but a tool. It allows me to break free from the particular, to move beyond psychological portraiture, and to create a figure that exists beyond a fixed identity. The mask makes it possible to evoke irony, grotesque qualities, vulnerability, or aggression—without needing to explain. It is a way to be present in the scene without being trapped in a narrative. The mask is how I exist within the painting without being caught by the plot.

My imagery often arises from observation—a movement, a pose, a fleeting moment in an urban scene, or visual noise. I am interested in group behavior, in collective dynamics, in the tension between corporeality and decorativeness. In my recent projects, I have been exploring the encounter between painting and textiles—two languages that can coexist as equals or clash with one another.

My engagement with art is not a search for a single recognizable style, but rather the construction of a system within which I can move. I strive for material honesty—for a practice where every decision is driven by internal logic rather than external demands. Not perfection, but an inner tension that keeps the work alive.