In the Chromatics series, my focus is entirely on colour – more precisely, its effect. I want my paintings to become perceptual elements – subtly shaping atmosphere and altering how a space is perceived.

My work with colour explores its unfolding in space, encouraging viewers to immerse themselves in its vibrancy.

I work against a dark background that is never fully black, allowing the colour to breathe-warm, vibrant, and gently held-as it moves into the surrounding depth through very fine, layered gradations. This approach enhances the sense of depth and movement within each painting.
These works are not made to be looked at from a distance. The viewer is invited to come closer, to stay with the work and allow their own experience to unfold. The scale of the paintings encourages physical immersion, where the body can merge with the colour, not just see it.

I think of my paintings as fields of resonance, activated in the encounter between painting and viewer. Your movement, distance, and attention complete the work.

My works live and function within space. They influence how a place is perceived and felt, subtly shaping atmosphere and giving a space its own voice.

The Circles series comes from my own process of distilling ideas – a journey from spreading outward to drawing in, from multiplicity to unity.

At the heart of this work is the notion of the point, where I allow colour to gather, intensify, and truly make itself felt. For me, each circle acts as a centre – a place of both beginning and return, where inner and outer spaces converge.

I create my Circles as site-specific installations, inviting people to step right into the experience of colour.

I see red. I see blue. I see yellow. But more than that, I experience red. I feel blue. I sense colour moving through me – as if it flows in and around my body.

Each circle is a point – yet it also opens a whole space. Charged with a vibrant energy, it pulses within a larger field, connecting the tiny and the vast, hinting at an underlying order – a sense of openness, infinity, and a gentle connection that I strive to share.

Whether I present Circles as individual pieces or as spatial constellations, I see them as points of orientation in a space. They draw in attention, centre my perception, and open a quiet field of connection.

My works don’t simply cover a surface; they define a position.

Colour, brought to the point – as I feel it.

In the Colour Symbols series, I explore colour as a perceptual and structural phenomenon, rooted in Johann Wolfgang von Goethe’s theory of colour.

Rather than treating colour as a fixed attribute, I reveal how it emerges through the interaction of light and darkness. Using the principle of the prism – where colour unfolds at the threshold between black and white – I translate this phenomenon into painting.

I deliberately choose the geometric forms – circle, cross, triangle. Among the most familiar and culturally charged structures, they carry layers of meaning that often go unquestioned. Here, I don’t approach them as symbols to be read, but as fields to be seen anew.

I use the term symbols to question this habitual use — and to reveal their often-unnoticed impact, physically, psychologically, and spiritually, including their potential for manipulation. In response, I offer a counterbalance: a visual invitation to look again, to perceive more consciously, and to encounter form and colour beyond fixed meaning.

In these works, I invite a shift in perception.

To look longer.

To allow the eye to adjust.

What may initially appear as a flat composition begins to oscillate as I spend time with it. Colours advance and recede, creating a subtle movement between surface and depth.

I move between structure and experience, between seeing and sensing. I open a renewed way of engaging with colour and form – translating it into spatial structures that define centres, axes, and directional tension, shaping how a space is perceived and navigated.

The Diamonds series departs from the rectangular format and unfolds within the rhombus – a form that carries both tension and equilibrium.

Structurally, the diamond can be understood as a doubling of the triangle, intensifying its energetic presence: a simultaneous pull between concentration and expansion, between stillness and movement.

At the centre of each work lies a concentrated field – often a zone of visual silence. From this point, colour begins to unfold. In some works, the centre remains darkened, allowing the colour to emerge gradually towards the edges, increasing in luminosity. In others, this relation is reversed: a luminous or chromatically intensified centre is held within a deepening outer field.

This shifting of intensity creates a dynamic perceptual movement.

Along the four edges, colour is finely graduated, allowing the eye to glide across the surface and follow the geometry of the form. The gaze is led outward, only to return, over time, into the depth of the centre.

The works create a perceptual field that is both contained and dynamic.

Their shifted geometry interrupts habitual ways of seeing. The transition from the familiar square into the tilted structure of the diamond subtly unsettles orientation, inviting the viewer to re-adjust perception. They draw the viewer beyond fixed perspectives, allowing new associations, sensations, and emotional responses to emerge.

In this way, the Diamonds function not only as visual elements, but as perceptual catalysts —
activating both the space and the person within it.

In my Glossy works, I approach colour as a living surface.

By integrating reflective particles, I make the painted surface responsive to light, angle, and movement.

Colour no longer appears as fixed pigment on canvas; instead, it becomes a shifting visual event-activated through space and through the viewer’s position.

For me, the surface is not merely an aesthetic attribute – it activates the painting as a kinetic field.

I invite the viewer to move around the work. With each shift in position, the colour changes-not as an effect, but as a direct response to light and angle. The image resists fixation; it cannot be seen all at once.

I don’t follow a fixed formal solution across the series.

Across paintings and object-based works, I articulate colour through different conditions – flat, transitioning, or spatially extended into the room.

What remains constant is not the form, but the behaviour of colour: its responsiveness to light and its dependence on the movement of the viewer.

This sensitivity to light as a relational force connects, for me, to spatial principles found in certain Asian architectural traditions, where reflective surfaces modulate atmosphere rather than define form-allowing space to remain still, yet internally in motion.

My works exist in a state between stillness and transformation.

They hold presence, yet reveal themselves only in relation – through light, space, and the moving body of the viewer.

The Places cycle is grounded in the idea of orientation — not as a visual concept, but as a spatial experience.

Developed over extended periods in my studio in Bali, these works are informed by the observation of rice field landscapes, where horizontal terraces and subtle vertical interruptions create a naturally ordered yet continuously shifting environment shaped by light, water, and time.
Rather than representing a landscape, the works translate these conditions into perceptual fields.

I refer to them as Klim(art) zones – atmospheric zones defined by colour, light, and presence rather than fixed form. Gradual transitions between horizontal bands of colour create a sense of continuity and calm, allowing the eye to move without interruption. The palette – earthy reds, saffron tones, and nuanced greens – carries the memory of natural materials and changing environmental conditions.

Within architectural contexts, these works function as stabilising visual anchors. Their structure provides orientation, while their soft chromatic transitions reduce visual tension and support a sustained, quiet engagement with the space.

Rather than acting as focal objects, they integrate into the spatial logic of a setting, subtly influencing how a space is perceived, experienced, and remembered.

The works create a sense of place – a visual and perceptual point of return within the built environment. They offer not only an image to look at, but a condition to remain within: a home, a base, a belonging.

In this series, I use colour and energetic brushwork to create a sense of threshold.

I return to the circle – a form central to my practice – as an homage and a point of departure.

For me, the circle is a portal: a keyhole I can enter without fully seeing what lies beyond.
Circle and oval sit in parallel here, each carrying a bodily memory.

A portal holds both beginning and end – like the birth of a body.

When yellow meets lilac, or yellow orange wraps a dark centre, I feel colour passing into colour – as if one is born through the other.

Colour is the soul; form is the body that lets it appear. I look for the pause – the moment something shifts.

In a room, the work holds the space: it gathers attention, slows perception, and makes the atmosphere tangible. And that is enough!

From the square base, a convex, circular elevation rises into space or caves inward, carrying the colour – supported by a shaped, curved form. This form carries an immediate, physical presence. It is read instinctively – as body, as fullness, as something that holds the potential of becoming.

What interests me is perception itself – how we see, and how, what we see is formed.

I work with precious mediums, oil colours and pigments on a resin body form. The process of applying 24 karat gold leaf is slow, almost meditative. Gold is not simply a colour – it carries its own light, and with it a sense of depth, of time, of something ancient. It grounds the work. The colour surface is built through a sequence of 7–8 tones, each layer carefully determined in thickness, saturation and order.

Across the curved surface, the reflection is never still. It shifts with movement, with light, with the position of the viewer. The work begins to breathe.

I invite the viewer to move around the work — only then does the three-dimensional body begin to unfold. With each shift in position, new perspectives emerge, extending the experience of a single piece. The work becomes kinetic — opening an ongoing field of perception that reveals itself through movement.

For me, this approaches something infinite — an embodied experience unfolding through the transformation of space, light, and perception. The clarity of the form allows something to open: the object becomes a threshold — between image and body, between seeing and sensing.

As it extends into space, it enters a relationship with its surroundings, subtly modifying how a place is perceived and felt — through light, reflection, and the quiet expansion of form.

My Skys series emerged from a year-long observation of the sky.

Each work is rooted in a precise moment – at sunrise or sunset – when I watch light shift and colour unfold in its most transient state. During this period, I recorded not only chromatic impressions but also the outside temperature, tracing a direct relationship between atmospheric condition and colour intensity.

What I discovered was striking: at temperatures between minus five and minus ten degrees, the sky opened into its most powerful and intoxicating expressions. I watched the colours deepen, intensify, and expand into vast, almost overwhelming chromatic events. These moments became a kind of immersion for me – a daily encounter with colour as a living force. A saturation. A drinking of colour.

I translate these experiences into large-scale diptychs.Their horizontal expansion echoes the spatial unfolding of the sky – inviting both immersion and distance, as in the act of observing the sky itself.

For me, the chromatic condition of the series is twilight – not as a fixed image, but as a temporal threshold.
Morning and evening begin to mirror each other, dissolving into a continuous field of light.

What I aim for is not a depiction of the sky, but a reconstruction of its presence – a condensation of observed light into a sustained visual experience.

The Squares series marks a decisive shift in my practice.
In this body of work, colour is no longer something applied; it becomes something that carries.
Leaving figurative painting behind, I moved into a space where no image confines me. What first registered as loss – the familiar dissolving – opened into something else: an unbounded field of energy. Within it, colour began to appear as presence – alive in space, directly on the canvas.

The square provides a structure that keeps me grounded as I move through this unknown field. It is a holding form – quiet, stable, almost absolute. Within it, I work with colour as a living force.

In the three-part works, colour relationships unfold through repetition, reversal and mirroring. A chromatic dialogue emerges – not as a system, but as a process. In the final panel, a lighter tone enters and something shifts what begins as order opens into something more fluid, more poetic.

Through the discipline of layering – again – I attempt to hold what does not disappear. Abstract painting asks for time, and a willingness to stay. When I do, perception shifts. This is where painting begins to open into something larger: not a depiction of life, but an encounter with its ongoing presence.

Here, colour is experienced as an open field — extending into space.
I aim for continuity, a sense of quiet belonging, and a place to settle, and to remain.