In my paintings, panoramic polyptychs offer an endless way of inhabiting the same emotional state.

Extended horizontal formats, assembled from separate fragments, create a montage effect, connecting observations and repetitive plots into a single, nonlinear stream of perception. This is not the fixation of a single moment, but rather a means of being present simultaneously in both the real and the metaphysical.

My experience of working as a creative photographer for glossy magazines has influenced my approach to composition: the precision of angles, the balance of figures and the accuracy of elements. In painting, this 'directorial' approach is combined with artistic freedom — the logic of montage is transferred to the canvas, and the familiar language of editorial photography takes on new meaning.

My childhood in my grandfather's house was my main source of visual and emotional experience. The atmosphere of this space, with its geometric ornaments and unique lighting, has become an archetypal motif in my work. This experience has influenced my perception of colour as both a form of presence and a means of capturing the viewer's attention at the intersection of the internal and external worlds.

The recurring motif of a person sitting on a chair in an open space — a reference to childhood memories — links my early staged photographs with my later paintings. It is an image where the everyday meets the transcendent.

In painting, colour and light are built on the maximum tension between cool and warm shades to create an almost blinding glow. The dense, matte surface, reminiscent of sun-faded enamel, contrasts with transparent glazes to create a sense of multi-layered depth and a warmth that can be felt.

The Noon and Azure series explore the boundaries between space and time, the material and the immaterial.

Noon is a metaphysical 'room without a roof' in which personal memory intertwines with collective experience. These images resonate with Michel Foucault's philosophical ideas of heterotopias and strategies of slowed perception, offering a means of resisting visual noise and the loss of emotional depth in the modern world.

Blue is an image of community outside of dialogue: divided solitude filled with subtle spiritual connection. Here, blue and orange exist in extreme contrast, occupying the space between the physical and the immaterial.

Through the combination of personal memories and universal cultural meanings, resistance to the accelerated digital rhythm of modernity is expressed, offering the opportunity to reconsider memory, space, and the experience of presence itself.