ARTIST STATEMENT
From my childhood, I became familiar with lucid dreaming — moments when awareness awakens inside a dream. This experience was my first encounter with altered perception, and it permanently shifted how I relate to reality. The world stopped feeling stable or singular. Instead, it revealed itself as layered — capable of shifting and reorganizing under attention. Perception, for me, is not a passive lens but an active portal.
Over time, I discovered that music, trance states, natural forces, and certain liminal environments can also open altered perceptual conditions, allowing movement across different layers of reality. I refer to the VOID as a foundational layer within this multi-layered structure.
The VOID is not emptiness. It is a base layer of reality that exists beneath habitual perception, while remaining in relation to other layers. Within this layered reality, I encounter non-human presences — autonomous forms of consciousness that are not produced by perception, but encountered through it. My works emerge from this contact and function as portals — not as objects or images, but as points where the familiar structure of reality becomes permeable and open to other layers.
My practice combines material and perceptual processes. In intuitive oil painting, images arise from a state rather than from deliberate construction, allowing form to emerge prior to interpretation.
Alongside studio work, I explore methods of shifting perception, including rhythm, music, infrasound, hypnotic techniques, and lucid dreaming. Another direction of my practice focuses on sites of power — environments where perception changes under the influence of geomagnetic and natural anomalies.
I am drawn to dusk and night, when the world enters a different perceptual field and what remains inaccessible during the day begins to surface. My art unfolds at the threshold between layers of reality — as a portal where the familiar trembles and other modes of presence become perceptible.
ARTIST RESEARCH
My practice investigates altered states of perception and encounters with non-human presences as parallel and equally significant fields of inquiry. I work at the intersection of lucid dreaming and altered perceptual states, using them both as tools and as objects of artistic research.
Reality is experienced as a multi-layered structure composed of multiple coexisting perceptual and ontological layers. Certain states of perception allow navigation across these layers, revealing their permeability and instability.
I discovered that music, trance states, natural forces, and specific liminal environments can open altered perceptual conditions in which different layers of reality become accessible. I refer to the VOID as a foundational layer within this multi-layered structure.
The VOID is not emptiness. It is a base layer of reality that exists beneath habitual perception, while remaining in constant relation to other layers. Within this layered structure, I encounter non-human presences — autonomous forms of consciousness that are not generated by perceptual states, but encountered through them.
My research focuses on how presences are encountered in transitional states, and how visual language can operate as a portal — a site of passage and contact between layers of reality. My practice includes painting, photography, cinematography, music, and animation. Each medium functions as a method for engaging with non-ordinary perception and stabilizing moments of contact.
Another direction of my research focuses on liminal and geomagnetically active sites — environments where space and perception behave differently. This includes working with geomagnetic maps, recording infrasound, and observing perceptual and bodily responses to spatial irregularities.
Overall, my research is concerned with the mechanics of transition: how perceptual thresholds arise, how movement between layers is initiated and sustained, and how encounters across layers of reality can be transmitted through artistic practice.