My artistic process does not stem from a predefined idea or concept.

I am interested in the phenomenological aspects of materials and objects, their inherent qualities.

I often work with anonymous and ordinary materials, considered negligible and insignificant. 

I am drawn to forms that arise without aesthetic intention — structures shaped by natural processes, use, time, or chance.

Ephemeral, discarded, imperfect and unpleasant materials are chosen not to illustrate ideas or serve as metaphors.
I am interested in their ‘presence’.

The work unfolds through a process of ‘allowing space’, of ‘listening’, as if I were responding to possibilities already latent in the material. 

Rather than being determined or imposed, something remote emerges, opening onto another perceptual register.

Opposite aspects coexist: chaos and order, sensuousness and austerity, fragility and pervasiveness, immanence and immateriality,  welcoming and unsettling.

They do not neutralize each other but integrate in an ambiguous and subtle balance – like two sounds, one intense and penetrating, the other gentle and crystalline, vibrating in unison.

The work seems to evoke a suspended dimension, a slowed time shaped by silence, a threshold between form and revelation, which eludes analytical interpretation and asks to be ‘received’ before it is understood.

 

[Abys - Aeter 022]