My painting deliberately moves between figurative dissolution and free colour abstraction, without committing to either. The underpainting begins with a brush, but as soon as the work intensifies, the palette knife takes over: the paint is applied thick and relief-like, the gesture remains visible, and nothing is smoothed down.

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My colour palette is not always naturalistic. I take the liberty of using colour as a medium for mood and energy.

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In my earlier works, this language was even more abstract. Over time, figurative elements — bodies, landscapes, architecture — have woven their way in, without me giving up the freedom of colour. The result is a body of work that constantly shifts between subject matter and surface, depending on how much is decided during the painting process itself.

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I am inspired by artists with a gestural, sensual approach to colour and surface, such as Nicolas de Staël, Chaim Soutine, Cecily Brown, and Joan Mitchell.