Statement

My artistic practice centres on three elements: content, form, and technique. Through them, I explore the boundaries of artistic language and through them, my own relationships with everything in this world; as a woman, artist, and researcher. In my art and in my life I focus on overlooked details that carry meaning. My art is a conversation with the world, revealing the enduring beauty of nature amid perceptions of decline.

For me, artistic language holds the same weight and complexity as any other language — it has its own vocabulary, grammar, and logic; its own ways of being spoken and heard. The difference is that it speaks directly to the senses before it reaches the mind. Within it, I can express what words alone cannot reach: grief that has no name, joy too fragile to pin down, longing that outlasts its object. I can be precise, nuanced, even contradictory — just as one can speak clearly only when one has first learned to think clearly, as Ludwig Wittgenstein once wrote.

I have always been fascinated by technique—not as a means to an end, but as inquiry itself. This led me to invent my own method, which I call “painting with light.” It is rooted in sfumato, a Renaissance technique of soft, invisible transitions between tones. It requires tens to hundreds of transparent paint layers, with each one affecting the layer below. I spent seven years developing and refining this process. The result is surprising: paint behaves like light. For example, when I apply yellow over blue, I get white, not green. Pigment absorbs and mixes, but light adds. The rules of pigment do not apply. Something more like luminosity takes over.