My practice centres upon layering and revealing, intertwining vibrant, organic forms with rich, tactile surfaces. I create intuitive, colourful paintings incorporating biomorphic shapes and elements reminiscent of flora. My initial compositions are then obscured by a thick layer of gold paint, which I meticulously sand to unveil abstract, faded forms beneath. This creates a contrast between the exuberant underlying colours and the muted, metallic finish of the gold.

 

My work evokes the marbled paper that the Turks introduced to Venice in the 1600s, traditionally used in calligraphy, religious texts, and book decoration. Though opposite to my layered sanding method, this historical technique mirrors the effect I achieve. Both approaches create intricate patterns and layered depth, adding a sense of historical continuity to my modern approach.

 

I use different materials, including acrylics, spray paint, ink, texture paste, and water washes, applying them with brushes, palette knives, and sponges. This approach allows me to create dynamic compositions through sweeping, splattering, and pouring techniques, infusing each piece with a sense of movement and spontaneity.

 

My work, imprinted with memories and experiences, explores personal and cultural identity through the lenses of memory, psychoanalysis, and schema theory. Deconstructing and reconstructing the painted surface invites viewers to engage with the artwork by revealing hidden aspects, evoking curiosity and introspection. Through this blend of technique and concept, my art creates a dialogue between the seen and unseen, the remembered and the forgotten.