My work begins with painting. I paint layers of colour, brushstrokes, and abstract forms on paper, exploring the physical presence of paint, its movement, and the role of chance. I then photograph these painted fragments and alter their scale, enlarging or reducing them according to the needs of the next stage of the process.
The images are subsequently printed onto textile. These printed surfaces are not the final work but rather material for a new phase of creation. In my studio, I suspend the textiles with fine lines, reposition them, establish relationships between them, and construct temporary compositions. Light, distance, overlaps, and spatial tensions become integral elements of the work.
The final images emerge through photography. They are not digitally constructed or created in image-editing software; instead, they originate from physically existing spatial installations. The camera captures a fleeting moment—the encounter between colour, material, light, and space.
Each work therefore moves through multiple media: from painting to photography, from a two-dimensional surface to a spatial object, and back again into an image. I am interested in how an image transforms as it passes from one form to another, and in how abstract elements can generate new and unexpected meanings.
