My practice unfolds between painting, drawing, and sculpture—an evolving field where perception, material presence, and spatial balance are continually renegotiated. The origins of this work lie in an early, accidental apprenticeship: stepping from an Elle magazine competition into an international modelling career placed me inside the studios and sets of visionary image-makers. There, under the lights of artists, designers, and photographers, I witnessed how form is constructed, how space is choreographed, and how the body becomes both measure and instrument.

Performing within the Bauhaus Museum in Dessau, surrounded by Gropius’s architectural clarity, awakened a lasting sensitivity to geometry, structure, and the quiet discipline of order. These sensibilities run like an underground current through the work. Influences—Franz Kline’s urgency, Agnes Martin’s restraint, Stella’s precision, Albers’s chromatic logic—serve as sparks rather than templates, guiding a practice rooted in discovering harmony within disorder.

Early monochromes, alive with gestural volatility, gradually gave way to systems of measured lines, rotating forms, and concentric geometries. In these works, intuition meets structure; the spontaneous is pressed gently into alignment. Materials typically considered functional—masking tape, MDF, primer, plexiglass—step forward as conceptual partners, their modesty becoming a site of transformation.

Colour is approached as a vibrating threshold between clarity and ambiguity, while analogue technical drawing offers a slow, deliberate counterpoint to perceptual turbulence. Across paintings, drawings, and sculptural forms, my work seeks to coax coherence from chaos, to build harmony rather than assume it, and to let structure emerge—as if breathed—out of the shifting field of perception.