From as long as I can remember, I have been fascinated by patina. By the dignity of aging.
By the visible history embedded in surfaces, objects, and materials. I work with time. Before an artwork comes into being, patina emerges. It is not a background. It is the origin.
My works are built through layered processes. Paint, pigments, and ash are applied, removed, and reworked until a quiet balance appears - complex, yet restrained.
A process of becoming, not of perfecting.
This body of work is articulated through four collections: Pure Patina, Mosaic, Little Treasures, and The Collected.
This approach is deeply influenced by the philosophy of Wabi-Sabi:
the acceptance of impermanence, imperfection, and the beauty of what is unfinished.
Mosaics, archaeological fragments, and objects shaped by the sea are recurring motifs in my work.
They are ways of holding fragment and whole in balance – stillness and movement, connected for a moment in time.
Gold enters as a counterpoint. Never ornamental. Never loud.
It appears sparingly – as light, not brilliance.
Gold whispers.
Earthy – pure elemental – without ornament
PURE PATINA
Pure Patina is the foundation of my work. This series represents artworks that draw their entire strength from the depth of the material itself. Built up through many slow, luminous layers of egg tempera, pigments, and ash, these works are shaped by time rather than intention. Their surfaces evoke weathered walls, faded landscapes, and the quiet traces of passing time.
Here, transience becomes a form of beauty – raw, restrained, and deeply present. There are no decorative accents. Nothing added. Nothing distracting. Only colour, structure, and the quiet poetry of patina.
These paintings unfold like inner landscapes, breathing into the space they inhabit and revealing new nuances with time – pure, elemental, and unadorned.
Timeless beauty
Ancient mosaics have always moved me - their muted colours, their subtle imperfections, their enduring stillness.
In my work, mosaic is not reconstruction, but interpretation.
Fragments are assembled into quiet compositions, holding a delicate tension between order and erosion, between what remains and what has vanished.
Each piece becomes a dialogue between past and present - a contemporary reflection shaped by time, balance, and restraint.
Here, mosaic is not decoration, but structure. Not surface, but memory.
Stillness and movement meet - if only for a moment.
A quiet glow
LITTLE TREASURES
Little Treasures are small-scale works - intimate paintings that hold a quiet presence despite their modest dimensions. Here, gold is used with intention: graphic, deliberate, and essential.
Each golden element appears as a restrained accent - a subtle shimmer that catches the eye without claiming it. These works do not seek grandeur.
They are conceived as precious wall objects - moments of stillness that reveal their elegance gradually, through attention and proximity. Like fragments or keepsakes, Little Treasures invite a slower way of looking.
They unfold quietly, revealing a refined, luminous character - gentle, composed, and enduring.
Traces of time
THE COLLECTED
The Collected brings together works shaped by memory, ritual, and the quiet authority of objects.
These paintings often take the form of still lifes - composed arrangements of objects on patina, held in a state of calm attention. They draw from archaeological fragments, weathered forms, and traces of use - surfaces that carry time within them.
Broken lines, worn edges, and restrained interventions speak of what has endured. Nothing here seeks completion.
What remains is preserved - fragments held with care. Inspired by the language of excavation, these works do not invent history. They listen to it. Each still life becomes a quiet witness to transformation, holding presence rather than narrative. The Collected is not about reconstruction.
It is about recognition - of what time has shaped, altered, and left behind.