Q: What is your work about?
It is not about meanings, messages, or readings.
Those things are optional and belong to the viewer.
My work deals with material, time, accumulation, protection, and integration.
It is a physical process before it is a symbolic one.
Q: Do your works have a specific meaning?
No.
People can read whatever they want into them.
I do not control that, and I am not interested in steering interpretations.
The work does not aim at meaning.
The work is the process.
Q: Why do you refuse to explain your work?
Because explanation replaces experience.
Looking is harder than asking.
Thinking is harder than receiving answers.
My task is not to deliver interpretations.
My task is to work.
Q: You often use symbols. Isn’t that contradictory?
I use forms, not symbols.
Weapon positions, shields, protective postures, spirals, tools, uniforms.
These come from art history, lived experience, and instinct.
They are not codes to be deciphered.
They are functional elements inside the work.
Q: Why protection, shields, weapons?
Because I paint myself.
Not psychologically, but structurally.
Protection is a state, not a narrative.
A shield can be a tree, a spiral, a gesture, a position.
It does not need to be heroic.
Q: What role does the body play?
The body is a recorder.
A bodylogger.
It stores experiences, accidents, tension, survival, repetition.
The work makes these recordings visible.
Q: You mentioned “miniatures” as central. Why?
Miniature landscapes are a core pillar of my practice.
Shrinking scale makes complexity manageable.
It allows control, intimacy, and precision.
This comes from childhood, from sandboxes, from landscapes that felt like models.
I am finishing that work now, as an adult.
Q: Is this imagination, memory, or autobiography?
All of it, mixed.
Integration happens when lived material is worked through physically.
Thinking alone is not enough.
I need to write, paint, build, reorder, crystallize.
Q: Is this art, science, therapy, or something else?
It is art as praxis.
A continuous practice that operates between perception, material, and time.
No spectacle. No performance. No product-first thinking.
Q: Why do you work constantly without external structure?
Because I generate my own work.
No supervisor, no assignments, no deadlines imposed from outside.
Work emerges from attention.
If there are no problems, there is no life.
Problems are not obstacles. They are material.
Q: What should viewers do when encountering your work?
Look.
Spend time.
Stop asking for explanations.
If nothing happens, that is also an answer.