My artistic practice has been shaped by the English figurative school of the twentieth century, by the work of Francis Bacon and Lucian Freud, in which corporeality becomes a carrier of inner tension and existential experience. However, the nature of  my work is not only art history but also personal experience of living between different cultures—an experience marked by the absence of a stable sense of “home” and belonging.

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I see art as a way of exploring what it means to be human: how we look at the world, how we come to know it, and how the self is formed in constant movement between languages, cultures, points of view, and bodily sensations. I attempt to reflect on these questions through painting and graphics, working with the deformation of form, collage-based compositional strategies, and layered textures as tools for analyzing perception.

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The space in my works is deliberately compressed or smoothed out—it is stripped of stable perspective and functions as a field of uncertainty and interpretation. The figure and the body within this space become not so much the image of a specific person as carriers of experience: cultural, corporeal, emotional, and contradictory.

In my current project, The Phenomenon of Silence and Emptiness, I explore moments when an image stops explaining something and instead creates a pause — a state of silence. By refusing a clear story or a fixed identity, I invite the viewer to face emptiness: not only as a feeling of losing a whole, stable self, but also as a space where this self can be questioned, changed, and rebuilt.