My painting practice stems from experience in printmaking. I approach the canvas as a structure built from layers, applying the logic of printmaking into the field of painting.
The starting point is a limited set of forms, which I subject to various configurations. Similar motifs recur in different scales, arrangements, or color schemes, creating an open system for further variations. I am interested in the moment when a painting ceases to function as a single object and begins to operate as part of a larger structure.
Modularity serves both as a tool for organizing composition and as a way of thinking about the painting in relation to space. Individual works can be combined into larger arrangements and adapted to specific architectural contexts. In this sense, my painting approaches an installation-like logic while retaining its autonomy.
Repetition does not serve reproduction but rather generates tension between the constant and the variable. The painting is the result of a system at work, rather than mere decoration.
I work in open cycles, developed over time and without rigid boundaries.
The use of acrylic with the addition of a glazing medium allows me to build the image by applying translucent layers. The interplay of color and form gives the sense of depth to what is initially flat, while preserving the synthetic character of the compositions. I am particularly attentive to the tension between geometric precision and the imperfection of the structure created by textured surfaces.