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My work begins with something we all live with every day: the screen.
I build my own wooden panels in 16:9 or 4:3 aspect ratios, echoing digital devices that frame how we see the world.
Onto these panels, I paint strangers’ selfies found online.
Though I don’t know them, their images become a mirror for questions about what it means to be human.
I paint in layers, almost like a digital interface.
Textures overlap and interact, and within these layers I create a painted mirror surface—developed through countless experiments using only pigments.
When viewers stand before the work, they see themselves reflected alongside the strangers I depict.
That moment of recognition—seeing another and oneself at once—is central to my practice.

Two concepts drive my work: ambivalence and the relationship between self and others.
Ambivalence, the ability to hold contradictory emotions simultaneously, feels uniquely human.
Selfies embody this perfectly: the desire to be seen versus the wish for anonymity, authenticity versus fabrication.
I see these contradictions as deeply human, even beautiful.

The second theme is how we discover ourselves through others.
A selfie can spark envy, affection, curiosity, or indifference, but whatever we feel reveals something about who we are.
Others act as mirrors, reflecting back our own insecurities, desires, or values.
This is why the mirrored layer is crucial: it transforms the painting into an encounter where viewers confront both another person and themselves.

For me, painting is not only about images, but about creating situations where people experience the tension between self and others.