ARTIST STATEMENT
From early childhood, I became familiar with lucid dreaming — moments when awareness awakens within 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 term for a foundational layer within this structure.
The VOID is not emptiness but a base layer of reality that emerges beneath habitual perception, while remaining in relation to other layers. Within this layered reality, I explore encounters with non-human presences — forms of consciousness that are not simply imagined but become perceptible under altered conditions.
My works emerge from these encounters and function not as representations, but as portals — points where the familiar structure of reality becomes permeable.
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 through 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 perception loosens and what remains hidden 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 research.
Reality is experienced as a multi-layered structure composed of coexisting perceptual and ontological layers. Certain states of perception allow movement across these layers, revealing their permeability and instability. I have found that music, trance states, natural forces, and specific liminal environments can open altered perceptual conditions in which different layers of experience become accessible. I refer to the VOID as a foundational layer within this multi-layered structure. It is not emptiness but a base layer of reality that exists beneath habitual perception, while remaining in constant relation to other layers.
Encounters with non-human presences occur within this layered reality. These presences are experienced as autonomous forms of consciousness — not simply imagined, but becoming perceptible under specific conditions.
Another direction of my research focuses on fear as a perceptual and ontological phenomenon. I approach fear not as an emotional reaction, but as a signal of proximity to the unknown — a state that emerges when familiar structures of reality begin to dissolve.
My research also examines how such encounters arise in transitional states, and how visual language can function as a portal — a site of passage and contact. My practice includes painting, photography, cinematography, and music. Each medium functions as a way of engaging with non-ordinary perception and stabilizing moments of encounter.
Formally, I work with techniques that emphasize instability, permeability, and material rupture. In photography and video, I use double exposure to create overlapping perceptual planes, allowing multiple layers of reality to coexist within a single image. This technique functions as a visual analogue of layered perception rather than as a purely photographic effect. In painting, I work with oil on canvas through direct physical interaction with the material. The surface is cut, torn, burned, and reworked, treating the canvas not as a neutral support but as a resistant body.
I also conduct research on liminal and geomagnetically active sites — environments where space and perception behave differently. This includes working with maps, recording infrasound, and observing perceptual and bodily responses to spatial conditions. Overall, my research focuses on mechanics of transition: how perceptual thresholds arise, how movement between layers is initiated and sustained, and how encounters across layers of reality can be articulated through artistic practice.