Artist Statement

A fleeting moment—a glance, a word, a shared silence. These unintentional instances form the foundation of my artistic practice. My work originates from images captured in daily life. I am particularly drawn to transient moments: the trace of a hand’s movement, the stillness after departure, or the faint light lingering on an untouched plate. Through layering and subtle shifts, my work constructs a dialogue between inner states and external appearances, offering a quiet space for introspection. In these works, solitude is embedded within space itself.

In my earlier work, I concentrated on calm atmospheres and spaces. I intentionally avoided depicting people, not to deny their presence, but to emphasize what remains after they leave. Objects and spaces became witnesses to absence, waiting, and emotional residue. Cups, empty chairs, and the remnants of a meal served as quiet markers of time passing and emotions fading. Through repetition, order, and stillness, these objects carried traces of human experience without showing the body itself.

In recent work, my practice has begun to shift. While distance and restraint remain central, I am now exploring ways to allow presence—carefully and subtly—to enter the image. The Holding series marks this transition. Its origin traces back to a small gathering after a lecture, where I held a transparent plastic cup of pale yellow-green white wine. The warmth of my fingers left faint marks on its surface, making me aware of touch as evidence of existence. By allowing my hand to appear in the painting, I no longer position myself solely as a distant observer. The act of holding becomes both a physical gesture and an emotional threshold—between absence and presence, distance and connection. Through observing everyday gestures of touch, support, and hesitation, my recent work explores how small, intimate actions can convey vulnerability, presence, and emotional connection. My practice continues to move from witnessing absence toward acknowledging embodied presence.

Formally, this shift is accompanied by a growing attention to repetition and spatial construction. I am interested in the sense of distance produced through repetition, and in allowing reality to gradually loosen through repeated observation. Rather than abandoning reality, I dismantle it slowly—delaying it, touching it again and again, and testing it through subtle variation. Though similar, each repetition carries slight differences, creating points of entry for the viewer.

Blank space is not absence; it is a density that has yet to emerge is my mantra. In my work, space is simplified not to erase meaning, but to hold that latent density—allowing presence, memory, and sensation to quietly unfold.