My outer world is a reflection of my inner world. I believe that what we fail to confront within ourselves inevitably manifests in the world around us. For me, the studio becomes a garden, not only a place to grow, but a space to experiment, to play, to fail, to listen, and to engage with contradiction.

For years, I have been collecting industrial waste found in the sea and the mountains, incorporating it into my artworks as a direct response to the way humans interact with the environment. These discarded materials carry traces of neglect, excess, and unconscious behaviour, visible scars of our collective psyche.

I approach matter not as inert residue, but as something alive, charged with agency and memory. Waste is not silent; it speaks of systems, desire, and denial. This raises a question that runs through my practice, how do we interact with ourselves, and with the waste we try so hard to avoid, both materially and emotionally?

In my studio, I work with industrial waste blended with sand and transformed through chemical processes. By interconnecting opposites, natural and artificial, control and chance, decay and resilience, I create new skins across the surface of my paintings. These surfaces are not meant to conceal, but to reveal, a fragile balance where contamination and regeneration coexist.

For me, the studio is a site of transformation, where matter, thought, and intuition converge, and where inner and outer landscapes become one.