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Selected Works / Portfolio

Solar Residue is an exploration of the interplay between architectural rhythm and material erosion under the weight of time and light.
The geometry of modernist facades dissolves into textured surface — a residue of ideal form, scorched by sun and duration.

Burnt sienna spills across the structure like light pressing into concrete — not to illuminate, but to consume.
Through layered brushwork and scraped gestures, the painting becomes a meditation on heat, memory, and the slow unraveling of constructed order.

This is not an image of a building, but its afterglow — a trace of what it means to inhabit form.

“Vestige” is an abstract reflection on the memory of built environments — not a literal house, but the echo of one.
This piece was inspired by weathered walls, architectural decay, and the way structures carry emotional residue over time. The painting captures not what buildings look like, but what they feel like once they’ve been abandoned, worn, or half-forgotten.

Created with acrylic, plaster, and textured gesso using a palette knife, the surface is rich with tactile marks, cracks, and ghosted layers — evoking old plaster, faded facades, and physical erosion. Warm siennas, ochres, and whites mimic the colors of earth and stone. These materials were chosen deliberately to express both fragility and permanence — a push and pull between construction and decay.

2025, Acrylic and Sand
Texture on Canvas,
palette knife
Size: 50 x 70 cm

This compact piece evokes a sense of silent erosion — a layered surface where burnt sienna and black pigments dissolve into one another like remnants of earth and charcoal. Built with a palette knife, the gesture is both abrupt and restrained, suggesting a fragile memory embedded in material. The tactile texture of sand adds a sense of permanence to an otherwise fleeting impression.

This diptych reflects on the fragile boundary between memory and disappearance. The first canvas (Field of Echoes) evokes vertical silhouettes rising from a scorched ground — traces of presence held in silence. The second (Falling Silhouettes) captures petal-like forms suspended between bloom and collapse. Built with Mediterranean sand, burnt sienna, and black, both works explore collective trauma and remembrance through gesture, texture, and material restraint.

Traced Silence is part of the ongoing In Between series, exploring ma — the Japanese concept of the space between.

Built upon a sand and acrylic base, this 25×25 cm piece captures the tension of absence. There is no figure — only gesture, erasure, and surface. The painting does not speak; it holds.

Burnt sienna, black, and titanium white form a restrained triad. Texture operates not as embellishment, but as evidence — of interruption, of memory, of presence.

This work invites the viewer into a space where silence is not empty, but filled with weight and breath. A trace remains — nothing more, and nothing less.

Acrylic and sand on canvas. Ready to hang. Artist’s signature emblem stamped in the corner.

This work reflects on the Japanese concept of
ma — the space between. Vertical marks in
burnt sienna and black rise and fade within a
soft white field of sand and acrylic. It captures
the moment where form dissolves into trace.
Not about what appears, but about the pause
between — a meditation on silence, rhythm,
and presence.

A visual pause between presence and absence.
This piece explores the concept of ma — the space between — through a restrained monochrome gesture.
The act of painting here is not about form, but about the tension of interruption, the echo of silence.
It invites the viewer to dwell in what is not said, to feel the subtle weight of emptiness.

In Fragments of Gold and Silence, the artist employs abstraction as a medium for articulating inner landscapes — elusive, layered, and emotionally resonant. Blocks of color — deep burgundy, black, ochre, and soft nudes — are interspersed with gilded surfaces that introduce a rhythm akin to the architecture of memory.

The composition balances intuitive gesture with structural rigor. While narrative is absent, a visual dialogue unfolds between the material and the metaphysical. Texture operates not as surface ornament, but as a vehicle of expression. Gold here does not merely embellish — it ruptures the pictorial field, functioning as a signifier of the sacred, the lost, or the repressed.

Rather than offering resolution, the work opens a space for introspective reflection — a space suspended between brilliance and void, embodiment and erasure.

“The Listener” is a meditative painting exploring memory and inner identity. A faceless silhouette gazes toward a distant house under a dark sky — a quiet symbol of the emotional “home” we carry within.

Created with acrylic and sand on canvas, the piece features a warm, textured burnt sienna background and dark abstract forms suggesting landscape and reflection.

Rather than tell a story, the work invites stillness and personal interpretation — a visual pause where presence replaces words.

Ready to hang · Sides painted · Signed on the back · Original artwork

This work explores the inner barriers that often appear to be a part of us — yet quietly hold us back from becoming who we truly are.

The blue figure represents a shadow — seemingly strong and confident, but in reality, it conceals.
It doesn’t protect — it hides us from ourselves, silencing potential, slowing growth, and blurring identity.

Behind it stands the true self: warm, vulnerable, and nearly pushed out of view.

The painting reflects on internal limitations, imposed roles, and false identities we often mistake for our essence.
Acrylic on canvas.
Mixed Media: Acrylic & Sand Texture.

A minimalist interpretation of the iconic Girl with a Pearl Earring, this 25 x 25 cm canvas on board is rendered using a palette knife and a restrained color scheme: sienna, black, and white. The bold, textural strokes emphasize form over detail, creating a tactile presence that transcends literal portraiture.

The figure emerges from a stark, ink-like backdrop, breaking through the hand-drawn frame — a visual metaphor for crossing boundaries between past and present, tradition and abstraction. The facelessness evokes universality, while the signature pearl glints quietly from under heavy brushwork, anchoring the image in its art-historical lineage.
Acrylic on canvas
Size: 25 x 25 cm
Canvas depth: 1 cm

This monochromatic piece reimagines a classical torso through bold palette knife texture and minimal color. The faceless, armless figure evokes ancient sculpture — a broken Venus — but is reframed within a dynamic, expressive black rectangle, as if the past bursts into the present. The contrast between rough white impasto and stark black background suggests tension between preservation and erasure, memory and identity. The frame — partially respected, partially violated — underscores the dialogue between order and chaos.

Acrylic and palette knife on canvas. The texture is tactile, raw, and sculptural — a painting that wants to be touched as much as seen.

Motion Frozen was inspired by the idea of time pausing mid-movement — the fleeting moment where motion and memory blur into each other.

The piece captures a figure walking, but not quite present — as if caught between steps, between awareness and fading. This impression came from watching how people move in cities: fast, purposeful, but often emotionally absent. I wanted to stop that motion for a second and ask — what’s really there when we freeze?

The work was created with acrylic on canvas, using dry brush and layered textures to evoke a photographic, almost ghostlike impression. The monochrome palette intensifies the feeling of silence, introspection, and fragility. The brushwork is intentionally loose — I didn’t want to “finish” the figure, but let it dissolve at the edges, just like a memory that’s slipping away.

I hope viewers feel both tension and quiet — the sense that something is moving, but cannot go forward.
This painting is about holding a moment, and about the quiet emotional weight that lives inside a simple gesture.

"Silence of the Layer" is an abstract, meditative painting inspired by landscape not as image, but as memory and presence. The work explores the tactile language of earth through layered textures and warm, organic tones ranging from deep black to pale sienna.

The painting was built slowly using natural sand mixed with acrylic to create a physically rich surface. Each layer acts as a sediment of time — evoking silence, breath, and stillness. It is not about what is seen, but what is felt through weight, material, and rhythm.

The minimal palette was chosen to emphasize tonal transitions and light absorption. The final dry-brush highlights allow the surface to breathe, revealing depth without disrupting the calm.

This work invites quiet reflection. It is about holding presence — not through form, but through the memory of form.

Acrylic on canvas
Size: 50 x 50 cm
Canvas depth: 3 cm

These sketchbook pages reflect my ongoing research into the conceptual and material properties of the pigments I use most frequently: Burnt Sienna, Mars Black, and Titanium White.

Each note combines historical reference, material observation, and visual response — functioning as both reflection and visual essay. The study deepens my minimalist approach, where color is never just hue, but memory, presence, and structure.

Studies and Early Works (2018-2025)

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