My painting practice explores the inner landscape of the human figure — moments of psychological tension, self-reflection, and emotional containment. I am interested in what happens beneath the surface, in states that are quiet rather than dramatic, and in figures that appear suspended between thought and action.

The human body in my work often occupies enclosed or structured spaces, suggesting restriction, observation, or self-imposed control. Mirrors, framing devices, architectural elements, and seated poses recur as visual strategies to emphasise introspection and internal pressure. Rather than telling a narrative, I aim to create atmospheres in which the viewer senses an unresolved mental or emotional state.

I work intuitively but with strong attention to composition, balance, and restraint. Colour, gesture, and stillness are used deliberately to guide the emotional reading of each painting. I am less interested in representation than in presence — in how a figure inhabits space and how that space reflects an inner condition.

Through figurative painting, I seek to make visible the often unseen moments of thought, hesitation, and psychological weight that define contemporary experience.