The driving force of my artwork arises from an encounter with material, object, surface, or human interaction. It can be a rusted rebar twisted like a branch, a concrete wall with a protruding slipper in the Himalayas, texts stained with paint on a newspaper, tree stumps in the Swiss Alps, a small fan, a bird’s skeleton discovered in the studio, a painting that appeared in a dream, or meeting homeless women in Varanasi.

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Each encounter activates me. It leads to a process of materials research and an examination of work techniques. From within this intuitive, associative process, the choice of medium and materials becomes clear. Only during the work progression or in retrospect do I fully understand the meaning of the project.   

My artworks engage in universal issues touching upon me as a human being and on the society in which I live: capitalism, the consumer society, ecology, inequality, racism and religious coercion.

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Since 2014, I had my own spacious studio in which I could realize my aspirations. But after five years there I had to leave it, and now in a smaller space, I concentrate mainly on painting. A connection to color has always been present at the infrastructure of my creative work. Inspired by the works of the Irish painter Sean Scully, to which I was recently exposed, I started to engage in issues of formalism, such as the relationship between color and form in simple compositions; exploring the interactions created between two adjacent colors, and how the colors change in each encounter. Now, as in some previous works, I am interested in questions of mixing and separation; the way in which colors encounter each other, and the extent to which they blend or remain separate.