My practice examines how perception transforms familiar forms and how the human gaze projects identity, emotion, and narrative onto the world around us.
I am particularly interested in anthropomorphic perception—the moment when a fruit, plant, landscape, or everyday object begins to resemble a body, a presence, or a psychological state. For me, seeing is never neutral; it is shaped by memory, bodily experience, cultural knowledge, and expectation.
I work primarily through painting and mixed media, moving between abstraction and figuration and often using still life and landscape as points of departure. Through color, texture, scale, fragmentation, and shifts in visual focus, I destabilize familiar images and allow them to remain open to multiple readings. I am drawn to the interval in which a form is still recognizable but has already begun to become something else.
Anthropomorphic perception can create a sense of connection with nonhuman forms, but it also reveals the limitations of human-centered vision. My work explores this tension by asking what we recognize, what we project, and how meaning changes when the same form is perceived as an object, a body, a symbol, or a memory. Natural forms and cultural symbols become shifting structures through which I consider fluid identity, transitional states, and the ways personal and collective memory shape perception.
My background in architecture and interior design continues to inform my approach to composition, structure, scale, material, and the relationship between the viewer and space. While painting remains central to my practice, my current research explores how its visual and conceptual language can extend beyond the picture plane into spatial forms and installation-based projects.