From the very beginning of my artistic journey, I have been drawn to the distortion of the figure. Initially, this was a form of exploration — an instinctive attempt to break away from rigid structures and traditional representation. I was searching for a visual language that could better reflect the complexities of the human condition.
In these early works, my approach was more playful, dynamic, and at times closer to the realm of "pop" aesthetics — vibrant, energetic surfaces carrying traces of experimentation. As my practice evolved, I gradually moved away from this energy-driven expression towards a more introspective, existential direction.
Today, the distortion of the figure is no longer an aesthetic choice alone, but a conceptual tool. The fragmented faces and bodies now embody questions of identity, power, and vulnerability. The work has shifted from an exploration of form to a deeper engagement with what it means to be human in a fractured world.
Art, for me, has become an existential act — not an escape, but a confrontation. The figure remains at the center of this inquiry.