'What is proper to the visible is to be the surface of an inexhaustible depth'.
Maurice Merleau Ponty, The Visible and the Invisible.

My work seeks to make visible an experience of the world that is based on the sense of being a carnal subject. I look at the ways the body relates to or is connected to the environment, nature and the urban environment as part of nature. In this somatic way of experiencing the world there is non duality between the internal and the external, the subject and the object, the real and the imaginary.
I am interested in the antithesis the body poses to rational and hierarchic ordering and binary separation of categories that the human mind creates to make sense of the world.
This questioning of given categories is something that was a guiding line behind my thought and work.

In this sense my work juggles between the representation of an outside world and the manifestation of an inner reality. The whole frame of thought leads me to working on the process of metamorphosis.

This is a research along tangents that invite the use of different artistic media. I work mainly in painting and in photomontage and photoinstallations. Lately, my work also incorporates sculpture.

In my painting I attempt to overcome the primacy of vision in our culture and integrate the somatic sense of touch in the making and in the experiencing of an image. In this way I look for the ways the quality of flesh can be manifested in the realm of images.

In my photomontages and photoinstallations I am guided by a desire to reorder the hierarchical categorization of the world and also to restructure reality and myself in it.
With respect to the three dimensional photoconstructions I refer to the process of manipulating my images as 'opening up space'. This expresses my need to create an opening, an exit through the surfaces and out of the closed structures of the contemporary world and environment. (Re)creating depth is thus a metaphor for my desire to transform reality and the relationships that govern it.

In my recent work I find affinities with the writings of Merleau Ponty and his concept of the ‘Intertwining’ and the ‘Flesh of the World’.

The issues that concern me also lead me to explore the relationship of the reception of art to lived space, having curated group exhibitions in current or former homes. (Plastira 16, 2006, Domestic Matter, 2017).