From the square base, a concave circular form sinks inward, carrying the colour within a shaped, curved body. This inward movement creates a quiet physical presence. It is read instinctively — as depth, as receptivity, as a space that gathers.
What interests me is perception itself — how we see, and how what we see is formed.
I work with precious mediums, oil colours and pigments on a resin body form. The process of applying 24-carat gold leaf is slow, almost meditative. Gold is not simply a colour — it carries its own light, and with it a sense of depth, of time, of something ancient. It grounds the work. The colour surface is built through a sequence of 7–8 tones, each layer carefully determined in thickness, saturation and order.
Across the curved surface, the reflection is never still. It shifts with movement, with light, with the position of the viewer. The work begins to breathe.
I invite the viewer to move around the work — only then does the three-dimensional body begin to unfold. With each shift in position, new perspectives emerge, extending the experience of a single piece. The work becomes kinetic — opening an ongoing field of perception that reveals itself through movement.
For me, this approaches something infinite — an embodied experience unfolding through the transformation of space, light, and perception.
The clarity of the form allows something to open: the object becomes a threshold — between image and body, between seeing and sensing.
As it sinks inward, it enters a relationship with its surroundings, subtly modifying how a place is perceived and felt — through light, reflection, and the quiet gathering of form.
