My practice is introverted. It approaches drawing as a perceptual and analytical system. I investigate how inner states, emotional processes and subtle shifts in perception translate into visual expression.
Each work emerges from a state of meditative concentration. This heightened attentiveness allows minimal emotional impulses to be registered directly and be directly translated into formal decisions. I construct conditions in which internal dynamics can organize themselves through line, layering, density, and spatial rhythm. Drawing functions as a method of precise observation.
I develop formal frameworks that oscillate between control and openness. Within these frameworks, the drawing unfolds through duration. Sustained focus shapes the the work. Scale is not predetermined but emerges in relation to the limits of attention and endurance engaged in the process. Expansion, where it occurs, follows the logic of concentration rather than an external ambition for size.
There is a need for the construction of perceptual fields. Spaces in which inner processes become legible through structure rather than narrative. Meaning is not assigned, but allowed to surface through repetition, variation, and accumulated attention. The works remain open, yet internally coherent. This openness reflects an ever-changing inner condition. Fixed definitions would collapse the system. Rather than pursuing an epistemology of the undefined in abstract terms, my practice operates as an epistemology of the self.
Sustained concentration exposes limits. I am not a continuous system or a neutral apparatus. I am not just physically organic. Breaks in focus, fatigue, and loss of precision are real and unavoidable. These interruptions do not weaken the process but become part of its structure. The drawing records not only inner states, but the conditions under which attention holds, collapses and evolves.
This makes the process inherently humbling. It demands clarity towards one's own limit of understanding and reveals flaws without negotiation. My practice insists on what can surface, when nothing is forced to speak and defined, and on what becomes visible when concentration is tested rather than assumed.
In a (my) cultural context dominated by explicit storytelling and symbolic framing, my practice insists on silence, precision, and duration. I aim to position drawing by positioning it as a rigorous tool for sustained perception, capable of holding emotional complexity without naming it, and of producing clarity without closure.
