I started with an interest in science, product design, and architecture, but formally trained in Fine Arts. Later, I finished postgraduate studies in Art & Technology, Art in the Public Sphere, and Multimedia Production. That mix didn’t produce a style, it produced a way of thinking where materials and making are a form of understanding.

My work starts with observation. Not as metaphor, but literally: watching how physical systems behave, how space responds to presence, how time alters matter. Natural phenomena and scientific principles are not references or inspiration. They are the actual structure of the work.

What I’m looking for, consistently, is the underlying logic that produces perceptible behaviour. A rope spinning through air. A building exchange with its surroundings. The traces audience leave at a gallery after their visit… Each project begins with a system that already exists and asks what happens when it becomes tangible, looking for the gap between what we think we see and what is actually there. It operates as an interface between the two.

Early on I learned that complex ideas tend to collapse when execution is fragmented. So I took a different approach: staying involved from concept through fabrication, treating design, engineering, and production as parts of the same thinking process rather than sequential handoffs.

When you understand how something is made, you make different decisions about what it should be. The studio has the infrastructure of a production company and the working logic of an artist’s workshop. That combination is deliberate and not easy to find elsewhere.