Practice

The starting point is a limited set of forms, which I arrange in 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 no longer functions 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 paintings 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.
What is essential for me is maintaining a balance between geometric precision and the structural imperfections resulting from textured surfaces and the work of human hand.

Although my work takes the form of geometric abstraction, its visual vocabulary comes from my immediate surroundings. Architectural details, urban landscapes, typography, and fragments of everyday visual culture observed in both Portugal and Poland are transformed into simplified forms and layered structures. The paintings translate these experiences into abstract systems of simple shapes and colors, forming increasingly complex and evolving structures.