Over the course of my practice, my clear sense of belonging gradually dissolved, and I have become increasingly aware of the importance of perspective and language, along with the challenges of translation and the transcultural construction of meaning. Despite or perhaps even thanks to this uncertainty, I remain motivated in my artistic efforts to represent given realities. And I continue to seek possibilities to reflect the experiential world in its full complexity through art and photography as well as through architecture and spatial experience, transcending the boundary between abstraction and figuration to give form to simultaneous layers of reality.
Correspondingly, my work over the past two decades has been marked by a hybrid visual language. While photography has remained the starting point of my work, I have been consistently exploring the medium and its translation into heterogeneous forms of representation. This is why I work with a wide variety of surfaces and formats using painting and photography, screen printing, lithography, and other printing techniques. I also engage with a wide variety of materials such as ceramics, aluminum and textiles as well as with finer nuances in terms of color, space, and light. These aesthetic and material registers together find their way into site-specific installations in interior and exterior three-dimensional interventions.
Overall, my practice has been dedicated to generating an independent visual language that defies simple categorization and can be experienced on multiple levels. The physical presence of my work is just as important as its semantic underpinnings.
Correspondingly, my work over the past two decades has been marked by a hybrid visual language. While photography has remained the starting point of my work, I have been consistently exploring the medium and its translation into heterogeneous forms of representation. This is why I work with a wide variety of surfaces and formats using painting and photography, screen printing, lithography, and other printing techniques. I also engage with a wide variety of materials such as ceramics, aluminum and textiles as well as with finer nuances in terms of color, space, and light. These aesthetic and material registers together find their way into site-specific installations in interior and exterior three-dimensional interventions.
Overall, my practice has been dedicated to generating an independent visual language that defies simple categorization and can be experienced on multiple levels. The physical presence of my work is just as important as its semantic underpinnings.
