Page 91 - Winter Issue

You’ve noted that you reinterpret the female form using inspiration from Greek antiquity and
modernism. Could you describe the visual language you’re creating through this blend of historical and
modernist perspectives?
When I start a sculpture, my main inspiration is almost always antique busts and torsos. I’m gradually exploring new
ways to incorporate abstraction into them, often through the use of geometric elements and sharp lines seen in modern
sculpture, for example in the works of Henri Laurens.
Your shift from a different career path back into art is fascinating. What prompted this change, and how
has your previous experience influenced your current practice?
I still have a regular job, but I started freelancing almost two years ago, which has allowed me to spend more time on
sculpture and painting. The more time has passed, the more I wanted to create. I’m constantly thinking about new ideas
and shapes.
What do you hope to achieve with your
exploration of femininity and the subconscious in
your work? Are there specific dialogues or
emotions you aim to inspire in those who
experience your art?
There’s no specific goal, no dialogue or emotion I hope to
achieve. I don’t plan the outcome; they simply capture a
fleeting feeling, a state of mind, or a concept — they are
always open to individual interpretation.

Stoneware, ceramics, 17x11cm, 2024

Earthware ceramic, 17x13cm, 2024 Earthware ceramic, 15x11cm, 2022

91