In Dialogwith the
Human Figure

I see myself as a figure sculptor and seek dialogue with the human figure in all my works. Even as a young person, I began to draw and sculpt with human nature, which today plays an important role in my work and serves as a constant source of my inspiration.

Every person has a distinctive psychology, plasticity and figure that should be identified and described in its symbolic form. I am interested in the fusion of the diverse creative systems of different eras, which can lead to unexpected results, explaining my varied repertoire.

Maximum Movement and Minimal Heaviness

In addition, due to my increasing concern with the representation of the natural plasticity of human and the disclosure of their bodily mechanisms, I have opted for bodily transparency in these works. It is not about erotic aesthetics but rather about dynamism, an expansion and twisting of the limbs of a posture, a game of movement and lightness, and that the gender issue is largely bypassed by my choice of androgyny. I play with the impressions and emotions of the viewer, maximizing movement and minimizing the heaviness of the original material.

Conceptual Works

In sculptural creation there are three familiar approaches: the subtractive, the additive and the constructive. I was curious to see if there was also a possibility in between i.e. a way of working in which neither anything of the initial situation is removed or applied, nor anything constructive is created. How can I work on the starting material without modifying anything in the mass, volume or density during the process? The answer lies in moving the mass! The starting material changes only in shape and form. The result is secondary in this work and the technique is the real statement. As I always deal with the human figure in my work, it is also reflected here.

The Sculpture as Canvas

Sculpture and painting do not necessarily have to oppose each other, they can interact and merge. Just as some painters are attracted to breaking out of two-dimensionality, I am attracted to seeing and treating sculpture as a canvas. In this coincidence, I see the stylistic device of calligraphy as a suitable technique for creating an independent, two-dimensional work on the sculptural surface but with the possibility of integration.

31 clays a month

It is said that an artist's works reflect his own individuality, interests and concerns. That would mean that an oeuvre can also be understood as a diary.
Since this conclusion appeals to me very much, I dared to start with this project. Making a clay sculpture every day for a month in order to finally be able to read from it.

Here, too, it is not the individual results that are of interest, but the reflection of what I have experienced and my analysis of this period.