My work emerges from the liminal space between the visible and the felt — a space where mythology isn’t ancient, but alive inside our psychological landscapes. I am drawn to the unseen: the symbolic language of the unconscious, the weight of unspoken emotion, and the forgotten potency of archetypes we carry unknowingly.

 

I primarily work in *charcoal and gold*, two materials that speak to opposing realms — one raw, dusty, and mortal; the other luminous, divine, and untouchable. Charcoal allows me to shape emotional ambiguity, to distort and dissolve, to let shadows speak. Gold, when it enters, disrupts and reclaims. It offers contrast — not as ornamentation, but as intervention. It interrupts the void with memory, meaning, or sometimes irony.

 

Abstraction in my work is not about aesthetics — it's about *psychic truth*. I deconstruct the figure not to confuse, but to liberate it from narrative expectation. Many of my figures are part-human, part-symbol — sometimes distorted, other times simplified to the edge of disappearance. They are not always anatomically correct because trauma and memory rarely are.

 

There is often a *mythological undertone, but not in a literal or historical sense. I’m interested in myth as a psychological truth — the inner hero, the exiled child, the dismembered self, the silent prophet. These are not just stories of the past — they are structures we live out, knowingly or not. My compositions borrow from dream logic: symbols repeat, scale shifts unexpectedly, perspective is deliberately broken. The goal is not harmony, but a kind of **soul tension* — an emotional realism that the rational eye might miss.

 

My figures are intentionally unusual — sometimes grotesque, sometimes sacred, sometimes both. I am interested in *the unphotographable* — that which cannot be captured by realism or technique alone. The subjects I choose — whether a faceless girl, a deity-like child, a fractured body, or a hybrid creature — are carriers of states of being: grief, reverence, erasure, wonder, dissociation, becoming.

 

Ultimately, my work is not about telling stories. It’s about *opening psychic space* — for memory to return, for the viewer to project, for the self to be confronted. I don’t want my work to be merely understood. I want it to *unsettle*, to echo, to sit with people long after they've turned away from the frame.