My artistic practice operates at the intersection of abstract drawing, ceramics, and sound. At the heart of my work lies an interest in mental phenomena and processes—inner realms of experience, those states, memories, and sensations that elude clear language or direct representation. The attempt to understand—emotional processes, thought structures, memories, or the relationship between body
and psyche—is a constant companion. I see my works as approaches to mental processes: fragile movements of thought and feeling that often become tangible only for a brief moment.
Research is an important component of my practice. I engage intensively with scholarly literature and theoretical approaches to consciousness, perception, and inner experiences. In doing so, I am less interested in the search for clear answers than in keeping questions and ambivalences open. For me, theory does not become an illustration, but rather a resonant space that expands intuitive and artistic processes.
The starting point of my work is the attempt to make the invisible tangible through line, material, surface, and sound—dreamscapes, emotional tensions, subliminal memories, or fleeting movements of thought. I am less interested in concrete representation than in the question of how inner states can find form without being fully explained or defined.
The practice of drawing plays a central role in this. For me, drawing is not merely a visual medium, but a process of perception and insight. Through repetitive movements, condensations, and open forms, traces of inner dialogues emerge—fragile systems poised between control and letting go. Organic, poetic structures appear, overlap, dissolve again, and form interstices where intuition, memory, and physicality converge.
I also view sound and ceramics as extensions of this exploration. Sound opens up fleeting atmospheric spaces, while ceramics, through their physical presence and materiality, translate inner states into a tangible form. Both media allow me to make emotional and psychological processes experiential not only visually, but also spatially and sensually. My works are not self-contained narratives, but open approaches to the hidden—to those subjective inner worlds that can often only be communicated indirectly. I am interested in the moment when something remains simultaneously visible and intangible: a trace, an echo, a condensation of sensation. My artistic practice moves within this field of tension between material, perception, research, and imagination.