My paintings emerge at the threshold where painting acquires corporeality. They speak through a sensuous, material presence and demand a particular mode of perception, in which the eye becomes as much a tactile as a visual organ.My material possesses paradoxical qualities—it is at once heavy and weightless, biologically corporeal and industrial. Its ambivalent properties attract, yet can also repel. It generates zones of sharp clarity and areas of hazy indeterminacy.For me, realism is not the imitation of outward forms but an attention to nature’s inner structures—geological, hydrological, cellular—that shape matter. I seek to model these forces as physical processes within the painting itself, thereby revealing their latent potential.Ultimately, my aim is not to depict but to investigate, to conduct an experiment. Each work is born through a dialogue with the material: a negotiation between control and yielding. The studio becomes a site of experiment, where chance, displacements, and the material’s unexpected transformations become part of the creative process. The outcome is not predetermined; the rational and the irrational complement one another. The result is layered topographies that bear witness to processes of growth, erosion, and transformation.