The starting point in my artworks is a fragment. At the beginning, it was a fragment of reality, a common object or a trace noticed in my immediate surroundings. I was interested in ordinary situations of everyday life, in their forms such as marks on a tabletop or the shape of a chair.

In my paintings I simplified these elements, reduced details and multiplied shapes. I moved my art away from literalism toward abstract compositions. Gradually, the fragment ceased to refer exclusively to the depicted motif and began to concern the painting itself.

The paintings began to exist as systems composed of parts that can form a whole or exist independently. From that moment on, the relationship between them and the environment where they were shown became the focus.

In my most recent works, the fragment refers to the structure of painting. Instead of painting, I often experiment with the stretcher and the canvas, changing their shape, revealing the structure and allowing the painting to function as an autonomous form. Here, the fragment becomes both a starting point and a way to discover new possibilities within painting.