My practice explores harmony within tonal and color relationships.
I draw inspiration exclusively from immersion into my everyday surroundings, responding to the light and shadow combinations that feel subjectively compelling—perceiving them first as abstract color spots, then as geometrical shapes, and never at all as known objects. Working at the intersection of interpretation and representation, I am interested not in a literal depiction of a motif, but in capturing the unique moment that forms its changing essence. This approach grants me a great deal of freedom—one governed not by rigid rules, dogmas, or generalizations, but rather by a singular visual experience.

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Photography plays a dual role in my creative process: both as an independent form of expression and as a foundation for painting. From childhood, I rarely left home without my camera. In my youth, I treated photography as a more accessible alternative to painting—above all, as a tonal exercise. Over time, it became essential in refining composition, rhythm, and tonal balance. In the darkroom, I experiment with overlays and light, treating photography as an extension of my artistic exploration.

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Today, my paintings often begin with photographic notes—spontaneous observations that later develop into complex, multi-figure compositions. In working on these, I frequently create tonal maps in charcoal and graphite to preserve my initial idea throughout the multi-layered improvisational process.

 

My research focuses on the evolution of figurative art and its relevance today. A key area of my inquiry is how modernism and fast culture influence today’s art world.  
 

I extend this exploration to scenographic projects, reconstructing the aesthetics of the 1970s as immersive experiences. In my cultural and hospitality ventures as an entrepreneur, I incorporate the same visual codes—through spatial design, color schemes, and material choices.

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Whether working in painting, photography, video, or scenography, I continually ask myself the same fundamental questions: How do we perceive reality, and what defines the moment of recognition? How does nostalgia shape our perception? How much context is needed to evoke an emotional response? These inquiries lead me to explore the timeless elements of the painterly language, from the Fayum portraits to the present day.

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