Artist Statment

Photography is my way of thinking through the world – an intimate form of speech that starts from observation but never ends in documentation. I use the frame as a threshold: a border that separates the visible from the internal, and at the same time lets one leak into the other. What I photograph becomes a mirror of my own sensitivity, memory, and imagination; the image is less a record of a place than a trace of being there.

I work with both natural and urban landscapes, with architecture, industrial structures, and with forms that are close to abstraction. These territories are not opposites for me. I am interested in their mutual friction and dependence: nature infiltrating the city, cityscapes echoing geological rhythms, culture leaving marks on the living world. Over the years abstraction has become for me not an escape from reality, but a way to reach its most essential, hidden structures.

I return to certain motifs in cycles, because only repetition allows me to reach what is hidden under the surface – quiet meanings, tensions, and fragile balances.

The photograph is a process. I often begin with a simple encounter, then follow it through layers of transformation. I combine digital and historical techniques, build images from sequences, compress time, let movement and light sculpt what the eye cannot hold in a single glance. I also expand photography into intermedia – photocasts and audiovisual forms – where sound, rhythm, and sometimes poetry open another dimension of perception.

Ultimately, I would like my works to be seen as images I have created rather than merely taken. I am drawn to the romantic potential of photography: its ability to suggest harmony and dissonance, to evoke emotions, associations, and personal readings. I leave space for the viewer to complete the picture – because meaning, like landscape, is always shared, never finished.