At the center of my artistic practice is an interest in how meaning is created, transformed, and shifted through context. My work begins with a personal image archive, which I organize according to the original meanings and designations of the images I collect. The archive functions as a personal system of order: it preserves images within their original contexts while also revealing how closely meaning is tied to naming, classification, and context.

I take individual forms and fragments from this archive, deconstruct them, and recombine them to create new images. Through this process, the original meaning of a form remains perceptible, but gradually becomes less important as it enters a new context. The forms retain traces of what they once represented, while their new surroundings allow them to take on different relationships and meanings. Meaning is not erased, but displaced. I am interested in this space between recognition and estrangement—the moment when something feels familiar but can no longer be clearly identified or assigned. A fragment can lose its original function and assume a different role within a new pictorial space. Existing structures thus become the starting point for new relationships, readings, and possibilities.

The grid and other forms of order are important tools within this process. They provide orientation and establish a framework, but they are never completely closed. Through repetition, fragmentation, displacement, and recombination, deviations can emerge from within the structure itself. The system remains visible, but its function begins to shift. This interest is also connected to my personal experience of not always fitting seamlessly into predetermined systems and categories. Structures can create orientation and a sense of belonging, but they can also establish boundaries and produce exclusion. I am therefore interested in how spaces for agency can emerge within existing structures—not necessarily by escaping the system, but by changing the relationships within it.

Formally, my work moves between abstraction, fragmentation, and the construction of pictorial space. It enters into dialogue with different art-historical traditions, including Ukiyo-e, Surrealism, and Color Field painting. I approach these references not as direct quotations, but as fields of resonance through which I explore perception, visual organization, spatial orientation, and the ways in which images produce meaning.

Ultimately, I am interested in what happens when an existing order is not abandoned, but transformed. My work attempts to capture the moment in which an original meaning is still present, yet loses its certainty through a new context. Something familiar becomes something new—not because its origin disappears, but because it enters into a different relationship with everything around it.