My work investigates landscape as both a physical terrain and an interior, psychological space, one shaped by time, memory, and cultural inheritance. Drawing on historical texts, poetry, and ecological systems, I approach painting as a process of translation: transforming observation, research, and lived experience into layered visual language.

Within this framework, the influence of Arte Povera provides an important conceptual grounding. Its resistance to spectacle and its privileging of process, material agency, and contingency resonate deeply with my own approach. Rather than treating materials as neutral carriers of image, I engage them as active participants, elements that retain memory, entropy, and trace.

I am particularly interested in thresholds: portals: between nature and culture, permanence and impermanence, visibility and erasure. Through accumulation, abrasion, and repetition, my paintings echo geological and temporal processes, proposing landscapes that exist in a state of becoming. References to historical literary sources from Dante’s Divine Comedy to Ovid’s Metamorphosis and to the Renaissance color traditions operate not as illustration, but as structural armatures that guide rhythm, chromatic intensity, and spatial tension.

Materiality remains central to the work. Pigment, surface, and gesture function as sites of negotiation between control and surrender, intention and chance. Ultimately, my paintings propose landscape as a site of ethical and poetic inquiry where personal experience intersects with collective history, environmental awareness, and material memory.