About
Painting here is a way of observing and inhabiting space rather than fixing a single moment.
The path led to working with a palette knife and plein air. What matters is not the reproduction of details, but the overall sense of place and time. A painting emerges not as a captured instant, but as a lived state.
The path led to working with a palette knife and plein air. What matters is not the reproduction of details, but the overall sense of place and time. A painting emerges not as a captured instant, but as a lived state.
Working in motion, on the road and within limited time, shaped an approach that discards the secondary and focuses on what is essential. Pause, rhythm, and inner atmosphere become the core of the work.
Photography is not used as a reference. It freezes a second, while painting preserves duration — light, weather, sounds, and the mood of the day. Plein air is not about searching for ideal conditions, but about working with what exists, finding beauty in the natural and the changing.
The connection to painting formed early, in an environment where manual work, observation, and visual thinking were part of everyday life. Over time, travel, exhibitions, and long periods of working outside the studio strengthened this way of seeing — attentive, restrained, and focused on presence rather than narration.
The palette knife became a conscious choice. It allows the work to remain honest, direct, and free from unnecessary detail. What stays on the canvas is not an image, but an experience — extended in time and grounded in place.