My practice explores harmony within tonal and color relationships. I work from attentive observation of everyday surroundings, responding to the particular combinations of light and shadow that that begin to make visual sense. I often perceive these moments first as tonal and chromatic relationships — abstract color fields and geometric structures — rather than as recognizable objects.

 

Painting, for me, is not a literal depiction of a motif but a way of understanding reality through sustained observation. In this sense, painting becomes a practical form of knowledge grounded in visual experience. I am interested in the moment when perception organizes itself into form — when light, color, and structure begin to articulate a coherent visual experience. My work translates this experience into the language of painting.

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Photography plays a dual role in my process, both as an independent medium and as a foundation for painting. Since childhood I rarely left home without a camera. Initially photography served as a more accessible counterpart to painting — above all as a tonal exercise. Over time it became an essential tool for exploring composition, rhythm, and tonal balance. In the darkroom I experiment with overlays and light, treating photography as an extension of my visual research.

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My research focuses on the continuity of figurative painting and its relevance in the present day. I am particularly interested in the role of observation in the painterly tradition, from the Fayum portraits and Roman frescoes to contemporary practice. This research also examines how modern artistic theories and the acceleration of cultural production influence the place of sustained visual experience in contemporary art.

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Alongside painting, I develop scenographic and spatial projects, including cultural and hospitality spaces. These projects are conceived as environments shaped by the principles of slow culture. Through interior design, color, light, and material choices, I construct spaces that encourage attention, duration, and sensory engagement.

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For me, these spaces are not separate from artistic practice. They are scenographic and cultural projects in which I work simultaneously as designer, chef, and director. They allow me to explore the idea of non-alienated creative labor, where artistic work produces an immediate and tangible benefit for the people who inhabit these environments.

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Across painting, photography, video, and spatial projects, my work returns to a set of fundamental questions about perception and recognition: how visual experience becomes form, and how images communicate discoveries about the world.

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For me, a painting practice grounded in a long-standing tradition is not a nostalgic return to the past. I see it instead as a practice of the future. The impulse to create images and to share visual discoveries with others is intrinsic to human experience.

 

From childhood, drawing and image-making function as a language through which we explore and understand reality. In this sense, painting remains a living and dialectical practice whose possibilities lie not behind us, but ahead.