Artist statement :

My artistic practice investigates meaning-making between perception, materiality, and identity. Meaning is produced, shifted, or dissolved only in relation to the question of who perceives what, when, and how.

I do not understand perception as a passive act, but as an embodied, situational event—a thinking and sensing at once that mutually shapes world and subject. Objects, materials, spaces, and social situations act as co-actors with whom we enter into relation. Within this network our need for order and meaning is reflected—and so is its resistance. I am interested in those in-between spaces where something withdraws: where the familiar turns strange, the invisible becomes palpable, and meaning is no longer unequivocal.

Perception never occurs in a vacuum. It is shaped by social, technological, and cultural structures that determine what becomes visible, audible, or thinkable—and what does not. Our attention is guided and at the same time constrained by power relations, habits, or technical systems. These frameworks interest me as much as their limits. In my work I look for moments in which orders surface, shift, or dissolve—and in which new forms of perceiving and acting emerge.

At the beginning of a work there is a perception or a question. From engaging with it, forms first arise—forms that change, and within which meanings shift. What transforms is not primarily the material, but our perception: we begin to see, hear, and feel differently, or we enter a state of non-recognition in which perception becomes probing and questioning.

I work with installation, sound, photography, text, video, and performance. Exhibition, club, and off-space contexts are not merely sites of presentation, but a constitutive part of the material and of the working process: all of this co-shapes how attention is distributed and how meaning emerges.

For me, art is not a place of fixation, but of negotiation—a space in which world, body, material, and audience interrogate one another. I am not looking for representations, but for situations in which perception becomes a practice; open enough to set reality in motion and to make the self and the other newly experienceable, again and again.