I am interested in the tension between time as a crucial aspect of the human condition and the stillness of a painting as a static object. The dual nature of the word "painting"—both an action and an object— intrigues me, particularly in the context of the transformation of material in art. What does that mean in a post-digital landscape?

My practice is rooted in abstraction, merging digital techniques and mixed media assemblage to explore themes of temporality, death and criticism of power. Recent works incorporate artificial intelligence as a tool to generate new images based on my own paintings, which are physicalized by printing them on paper to be torn up and pasted as collage material. My paintings are multi-layered, often exploring several ways of looking at the same subject within one piece.

The process is physical and intuitive, allowing for spontaneity and improvisation. Architectural and organic shapes are merged alongside gestural brushwork, obscuring the images. Representational elements compete for dominance with tactile surfaces, the artwork’s objectness.

The art historical concept of memento mori is reflected in the recurring skull image, which also symbolizes the physical body that AI lacks. What would it mean to be conscious without a body? Currently, AI can only imitate human thinking; its hallucinations are based on not being able to experience life as we do. While I use AI in my process, skepticism toward its potential misuse remains an important part of the conversation.