My art focuses on the symbiosis of 
merging multiple influences, media, and inspirations.
Certain questions are always to the fore in my work.
With light sculptures, I play with two sides of the same thing, the inner and outer world, while with paintings and drawings, I explore the relationship between humankind and the “non-human” world, Nature. Through my art, I explore the possibilities in which Nature and the built environment will coexist in the future.
LIGHT SCULPTURES
At one stage in my career, I started to make light installations.
The light is somehow at the beginning and the end of everything.
To my mind it talks about the creation of life, starting from atoms, and molecules, through various organisms. Can we see the light inside us? Because every human being lives under a metaphorical helmet or shell of his or her body, we observe these protective surfaces at the expense of our deeper realities. My aim is to turn these external and internal realities around.
Surface elements of light sculptures appear as impressions, memories, and experiences. Everyone carries these elements. Sculptures too.
We know that one cannot see the essence of someone with the naked eye, but when you turn on the lights, everything becomes illuminated and new, and insights emerge, at the fascinating intersection between the past, present, and future.
Today, we are all a part of the prosperity, but one can ask where social, material, and moral progress for everyone and everything, and how our life will affect Nature’s allies tomorrow.
Who is making the balance, we or Nature?
INSPIRATION
I am concerned with universal messages, ancient, and rooted in history, but also unchangeable objects, facts, and emotions. The passing moment, crowded cities, natural stainlessness. Movement. The constant flux of the world, united in its intrinsic interconnections, universal relevance where what appear as opposites come together in one.
Human, animal forms and other shapes that we are all familiar with are essential in my work. I use these forms as a reference point to shape a body of abstract sculpture or painting. Realism in my work has a strong connection with abstraction. When it comes to drawing I love the freedom of joining all these lines together in a seamless flow.
I always thought that every person makes an invisible drawing while living, with their actions, moving through life.
PROCESS
Every single piece of plexiglass is cut, heated, and shaped to follow the form of a body. In the process, I am using various disciplines, from human, and animal anatomy, design, welding, metal shaping, and plexiglass modeling, connecting to the implementation of light in the end.
I do not define my work exclusively as that of a sculptor, draftsman, or painter, as I am always connecting all three by finding my way through this symbiosis.
Working in just one medium for a longer time makes me feel overwhelmed as it often becomes too unidirectional.
While working on two different projects, to keep the freshness, I often switch to another medium but without any loss of direction and precision.
I find a balance in this with time because when I am working with the sculpture I feel closer to the concrete, real world, which helps ground me after the imaginative wanderings of painting and drawing.