At the center of my artistic practice lies tension — emotional, social, and cultural. I understand it as an intensity that precedes form and shapes the way an individual experiences the world. I am interested in states of trembling, anxiety, nervousness, and those moments when the body reacts faster than language. I am drawn to Gilles Deleuze’s notion of affects as flows of energy circulating between bodies, gestures, and spaces — pulsing before they are named.

I explore the space between tension and relief — between the emotional overload of contemporary life and the moment of breath that allows it to transform. I am interested in how the body, gesture, and humor can become tools of emotional regulation, and how the creative process itself can be an act of regaining balance.

My painting emerges from automatic drawing, spontaneous gestures, and scribbling. I paint by physically entering the image, surrounding myself with its scale and rhythm — allowing the body to become a tool of intuitive action. Drawing was also a therapeutic practice for me, a way of working through my own states of anxiety and depression, a space in which tension could find form and affect could find a safe outlet. I work impulsively, often on a large scale, letting the body act without the dominance of rational control. The line becomes a trace of affect, a record of energy demanding expression. I am interested in the in-between: eruption, suspension, trembling, interrupted rhythm. I create situations in which gesture becomes both a release of excess and an attempt to understand it.

Alongside painting, I create social projects, videos, and spatial actions that examine collective tensions and the dynamics of community. I am interested in situations where individual emotions interweave with the pressure of social narratives — moments of ambiguity, broken messages, and rising noise in which a meeting begins to turn into a confrontation. I work in public space and with participatory forms, creating environments for expressing emotions, negotiating differences, and symbolically releasing tensions. Humor, empathy, and performative elements serve as tools for questioning rigid structures and opening up space for the co-creation of meaning.

My work connects what is internal and bodily with what is communal. The intensities present in the painterly gesture find echoes in the tensions circulating within social space. Within these relationships, I search for a language capable of capturing what trembles beneath the surface of everyday life — and transforming tension into an experience of relief, humor, distance, or awareness. I treat art as a space in which affects can circulate more freely, revealing hidden structures of emotion, relation, and co-presence.