My practice engages with two central bodies of work: paintings of museum spaces mediated  through digital interfaces, and images of human figures drawn from my own photographic  archive. Across both, I examine how acts of looking are fragmented, displaced, and  reassembled through digital mediation, taking form in direct relation to the painting surface  as an active material. In recent decades, as the encounter with art has shifted from the  embodied space of the museum toward hybrid and screen-based experiences, I construct  images from screenshots of virtual tours, recomposing discontinuous viewpoints into  unstable spatial configurations that hover between coherence and collapse. 

Alongside this, my engagement with the human figure develops from photographs I take  myself, forming a parallel line of inquiry. These figures appear obscured, withdrawn, or  partially erased, often dissolving into the canvas and hovering at the threshold of presence  and disappearance. My process is grounded in an integral relationship to the painting  surface, which remains partially exposed and functions as both origin and limit of the image.  Moving across canonical European interiors and scenes drawn from everyday, my work  navigates tensions of order and excess, display and consumption. Painting, in this context,  becomes a site that holds the image open, allowing it to persist in a state of uncertainty and  prolonged attention.