My Practice
My original training was in music, and I graduated from the Royal Conservatoire of Flanders in Ghent. For many years, my life was shaped by sound, rhythm and pauses. Later, I began exploring the same principles through material — through repetition, the relationships between elements, layering and the transformation of surfaces.
I studied drawing and painting in a private studio for ten years. Since 2025, I have been developing my own artistic practice, working with relief painting and tactile objects.
I live and work in Moscow.
Time Held in Matter
I am less interested in reconstructing a specific past than in exploring how material can retain traces of time.
I build up layers, partially remove them, alter the surface with waxes and patinas, reveal hidden areas and cover them again. Worn patches, cracks, fragments of ornament and areas of loss emerge — traces that seem to have accumulated over a long history.
I create surfaces that appear to have existed long before they were discovered. Time is neither narrated nor depicted; it is read through layers, transformations and surviving fragments of form.
Surface and Perception
I am interested in how the same surface can be experienced differently from a distance and up close. From afar, a work comes together as a coherent composition; closer inspection reveals individual layers, cracks, chips and traces of material transformation.
Texture is more than a visual quality. It emerges through variations in relief, roughness, recesses and raised elements. Light alters the relationships between them, revealing new details and changing the perception of the whole.
Materials and Method
Depending on the work, I use travertine, textured pastes and plasters, gypsum, acrylics, waxes, patinas and mineral fillers. My palette is predominantly earthy, with ochre, umber, muted grey-blue, ashen and stone tones.
Each work develops gradually. I apply layers, allow the material to dry, partially remove the surface, reveal underlying layers and transform it again. Cracks, chips and irregularities emerge in the process and become part of the composition. Rather than concealing the traces of material transformation, I look for a new sense of coherence within them.
Each work is made by hand as an independent artwork.
