Soft, frail, and subtle color nuances are applied to meditative canvases, a way from the desire to express a specific thought. The fascination with questioning and wanting to understand people's thoughts emerges as a theme in my work. I frequently refer to my work as a "thinking exercise" that aims at understanding the meaning of thoughts; A pursuit of intimacy with our own body and mind. The intimate complexity of the experience of our subjective cognitive processes.

The recognition of the figurative is increasingly abandoned. The goal is for the viewer to take up more and more space in interpreting the work. As a result, the viewer's interpretation and questioning is becoming increasingly relevant and central. It is critical to explore this emptiness (absence of the dominant figurative) within the work in order to find the intimacy of one's own subjective and suggestive mind (and body). There are no grand movements or extroverted emotional expressions, only the search for essence.

Within my work, there are additional underlying questionings. These are not always apparent in the work, but are, however, essential. These questions concern my, and the spectator's, positioning in relation to the pieces, the theme, and the questions it poses. They are starting elements for communication, dialogue and mutual understanding.

Is it possible for a thought to be pure in essence, or is it polluted as soon as awareness of the said thought or feeling arises? How pure, or unpolluted by our external environment, are our own emotions, thoughts, and experiences? The context in which a thought is formed may determine how the experience of an emotion related to that thought is shaped. In short, questioning myself, my work, the world, and people is central to my maker ship. I am never searching for final conclusions or definitive answers, only new questions.

I have no desire to strive for originality. I am aware that both I and my work are not unique. Our collective mind is the culmination of unoriginal ideas, but it is precisely this individualized assemblage of various points of view, sentiments, and background knowledge of the world that distinguishes each of us as unique individuals. The most crucial factor is not so much what one sees in my works as it is what they feel after seeing them.

The conceptual vision that gave rise to my work does not retain the medium's significance. The carrier (the fabric) merely serves as a bridge between the spiritual and material worlds. Two distinct worlds looking for harmony. For balance. The unpainted side edges on the canvas represent this division of two realms and symbolize the passage between them. Nonetheless, the idea, the feeling, the thought is constantly at the center of its sensory and material externalization. 

The work's main focus is on the aesthetic emotion and sublime spirituality that it evokes in the viewer. The works’ primary goal is to elicit emotions and thoughts. Each piece is a metaphor for communication, not an expression of my personal state of mind and thoughts about the works do not have to be directly related to my, or their, original intention. This explains why the paintings take on new meanings the more they are experienced and interpreted from various perspectives. Freed from any obligation of imitation or self-expression, they only have the right to exist through the exercise of thought: the intimate, inner experience of our own subjective (primal) cognitive processes.