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.
Architecture and design have shaped my understanding of composition, structure, scale, material, and the relationship between the viewer and space. My experience with theater, movement, voice, and music has further expanded my attention to the body as an instrument of perception and expression, as well as to rhythm, sound, spatial awareness, and physical presence. While painting remains central to my practice, I am developing projects in which its visual and conceptual language can extend beyond the picture plane into spatial, installation-based, and performative forms involving material, movement, sound, and the presence of the body.