ARTIST STATEMENT

I have been lucid dreaming since early childhood — waking up inside a dream, aware. That was my first encounter with altered perception, and it changed something permanently. The world stopped feeling stable or singular. It revealed itself as layered: capable of shifting and reorganizing under attention. Perception, for me, is not a passive lens. It is a portal.

I later found that music, trance, natural forces, and certain liminal environments open the same kind of shift — a movement across layers of reality. The deepest of these layers I call the VOID. Not emptiness. A base layer that surfaces beneath habitual perception while remaining in relation to everything above it.

Within this structure I work with non-human presences — forms of consciousness that are not imagined, but become perceptible under altered conditions. My paintings emerge from these encounters. They are not representations. They are portals: points where the familiar structure of reality goes thin.

In intuitive oil painting, images arise from a state — not from deliberate construction. Form appears before interpretation. Alongside studio work, I explore how rhythm, music, infrasound, hypnotic techniques, and lucid dreaming can shift the conditions of perception itself. I also work in sites of power: environments where geomagnetic and natural forces change how reality is sensed.

I am drawn to dusk and night — when perception loosens and what stays hidden during the day begins to surface. My work lives at that threshold. Where the familiar trembles. Where other modes of presence become possible.

ARTIST RESEARCH

My practice moves between two parallel fields: altered states of perception and encounters with non-human presences. I use lucid dreaming and altered perceptual states both as tools and as material — not metaphorically, but as direct conditions of work. Reality, as I experience it, is layered. Perceptual and ontological layers coexist, and certain states allow movement between them — revealing their permeability, their instability. Music, trance, natural forces, specific liminal environments: each can open conditions in which other layers become directly perceptible. The deepest of these I call the VOID — not emptiness, but a base layer that surfaces when habitual perception loosens its grip. Within this structure, I work with non-human presences: forms of consciousness that emerge under specific perceptual conditions and leave traces that can be held in material form.

I work across painting, photography, installation, and music. Each medium is a way of engaging with non-ordinary perception — and of stabilizing moments of encounter before they dissolve. Formally, I am drawn to instability, permeability, rupture. In photography and video, I use double exposure not as effect but as structure: a method for holding multiple perceptual layers within a single image. In painting, I work with oil on canvas through direct physical contact — cutting, tearing, burning, reworking. The canvas is not a neutral support, nor simply a resistant body. It is a membrane: the boundary between this reality and what lies beneath it — the spirit world, the imaginal. To tear the surface is to open a passage. The figures that emerge in my paintings arrive through this rupture — not as invented forms, but as presences that become perceptible when the boundary is breached. To work the material is to act as a conductor.

I also conduct field research in liminal and geomagnetically active sites — environments where space and perception behave differently. This includes working with maps, recording infrasound, tracking bodily responses to spatial irregularities. What interests me is the mechanics of transition: how perceptual thresholds emerge, how movement between layers begins, and how encounters can be sustained and transmitted through artistic practice.