Chrysalis

My process is both frenzied and meditative, a tension between chaos and structure. I gravitate toward techniques that are multi-layered and time-consuming because they force me into resence. Shooting on film is a vital part of this approach. In a world obsessed with speed and instant gratification, film slows me down. It demands intention, patience, and presence. The act of shooting on film becomes a ritual—a quiet rebellion against the pace of modern life and a return to the sacredness of time. Timelessness is an essential element in my work, as the foundation of what I create is inherently spiritual.

The initial stages of making are often messy and uncertain, allowing the subconscious to lead without interference. It’s only later, once the intensity of creation has settled, that I step back and begin to see what was really trying to emerge. This unfolding feels less like a linear process and more like a dialogue with the unseen.

Ultimately, my work is about bridging the gap between the conscious landscape of reality and the invisible realm of the spiritual. I reject the binary thinking of Cartesian dualism, and instead embrace a worldview rooted in unity and interconnectedness. Artistically, I strive to weave together the sacred and the mundane. This intention shows up in many forms—from using the female body as a sculptural element in communion with nature, to creating cosmic, primordial environments with inks that flow and dissolve into one another, evoking the prima materia, the original essence of existence. The interplay of shadow and light appears again and again, reflecting the inner tension between the physical and the spiritual.

For me, art is both a portal and a process—a devotion to presence, transformation, and the mystery that exists just beyond what we can see.