Page 89 - Winter Issue

Your background in art history is rich, especially with your studies on the influence of classical antiquity
on 20th-century art. How has this research influenced your approach to creating contemporary works?
Ancient Greece is generally considered the birthplace of Western culture. In a way, it has influenced all art created since.
During my art studies, which were some time ago, there was a strong focus on antiquity. We read a lot of Greek
philosophers — the origins of aesthetics.
For my thesis, I explored themes of mythology in the art of Cy Twombly, whose work reinterpreted Greek and Roman
myths in abstract expressionist painting. I found this fascinating because the two things couldn’t be further apart, yet he
connected them and evoked a feeling of nostalgia for ancient times through his paintings.
I’m drawn to art that blends classical and contemporary themes, sculptures, and paintings with historical references —
these pieces always inspire me.
You’ve mentioned a focus on the female form in both your sculptures and paintings. What is it about this
subject that continually draws you in, and how does it evolve in each new piece?
What makes it a constant source of inspiration is the countless ways femininity and the female form have been viewed
and symbolized throughout history. And still, we continue to discover new interpretations and expressions.
Your work blends abstract and figurative styles. How do you decide when to lean towards one over the
other, and what role do you feel each style plays in expressing femininity?
It’s not that much of a conscious decision, more of an intuitive process. Some days, I start with a specific idea; other
days, I feel like letting go and just seeing what comes out of it. Usually, after working on some figurative pieces, I need to
switch to abstract, and vice versa.
It’s interesting how the two types of painting can be so different — sometimes it’s like they weren’t even painted by the
same person. But there are feminine themes in my abstract paintings too: they almost always feature florals and have
something dreamlike about them.
In your artist statement, you talk about leaving your work "incomplete." Could you share more about this
choice and how it speaks to themes of human fragility and longing?
I’ve always been fascinated by antique sculptures with broken-off parts. It’s almost like they are even more beautiful this
way. They are a result of enduring hundreds or thousands of years, surviving wars, and being transported to different
places. We can’t help but think about their rich history.
The pieces I create are intentionally made to appear broken, which is a bit ironic but this way, they not only refer back to
antiquity but reflect our fragility as humans too.

Stoneware ceramic, 23x16cm, 2022 Stoneware ceramic, 14x12cm, 2023

89