At its core, painting is paint on canvas, or paint on paper.
For me, the strength of that combination lies in the moment when paint and support almost determine the work themselves. My intervention remains minimal: a line, a monochrome plane. What becomes visible is the material itself — in its color, absorption, structure, and tension.

In recent years, the canvas has become increasingly present in my work. Loose pieces and remnants of linen, with their folds, frayed edges, and traces of use, determine the form. The work does not arise solely on the surface, but within the material itself.