In my artistic practice, I explore color and texture as fundamental visual elements that illuminate the mystique and unrest of human emotions. At the core of my work lies the abstracted portrait — fragmented, unfinished, and in constant transformation. The connection between physical materials and their tactility opens a new phase of inquiry into how we perceive and experience art.
Acrylic is my primary medium precisely because of its density and flexibility, which allow for a firm adherence of the subject to the surface. Through the thickness of the paint and pronounced texture, a sense of time's passage is evoked — rooted in the present moment. Its durability and adaptability make it suitable for expanding the structural boundaries of the painting and enable a rich, evolving dialogue between medium and meaning.
For me, texture represents a tactile bridge between the viewer and the artwork. I use expressive strokes and dynamic gestures to encompass the portrait and provoke a sensory experience in the viewer. Texture holds us; it connects us to the moment, establishing a shared temporal space between the painting and the observer. In doing so, a dynamic dialogue emerges — one in which both the image and the viewer's perception continuously evolve. The work becomes a point of exchange — a space of contact and contemplation.
The format of the painting also plays a key role in shaping the viewing experience. My works often have shorter proportions compared to standard gallery formats. They are conceived to be viewed both from a distance and up close: the overall composition calls for detachment, while the details of the texture invite intimacy. This constant shift between nearness and distance creates a fluctuating relationship between the work and the viewer — a continuous, active dialogue.
Through this ongoing change, I seek to create a visual and emotional space where time, texture, and perception intertwine — a space where emotions are not observed from afar but experienced from within.