Presentation

My work explores personal memories rooted in childhood, whose influence persists like hidden roots in the unconscious, waiting to surface into awareness. Inspired by Alejandro Jodorowsky and Marianne Costa’s Metagenealogy, as well as Freud’s and Jung’s theories on the unconscious and collective memory, the artworks address inherited patterns, intergenerational trauma, and the human search for self beyond imposed identities.
My paintings focus on human vulnerability in all its dimensions—psychological, cultural, historical, and philosophical—symbolised by the image of flesh (Flayed series of artworks). This unsettling metaphor provokes viewers to question the realism and meaning of the imagery. The initial reaction of discomfort acts as a threshold, inviting deeper reflection on consciousness and shared human experience. Material details are rendered with such precision that they create visual tension, pushing the viewers beyond their comfort zone. Each object is unique in form and dimension, conceived as a rebellion against rigid social order and a metaphorical act of breaking invisible constraints. This liberation—breathing beyond societal masks—reveals the essence of being.

Some of my artworks (Memories, Back to past, Layers of soul series of artworks) translate inner tensions into unconventional mixed techniques, embedding emotional and psychological depth into the materiality of the works. Recurrent motifs such as eyes and distorted portraits embody moments of solitude, introspection, and moral deformation, ultimately striving for a sense of spiritual balance visible in the palette, technique, and process.

Interactive drawing

The workshop project explored the idea of recycling fragments from our unconscious—retrieving buried images, sensations, and memories, and bringing them into the light of conscious awareness. The process began with reflecting on a deeply personal experience, whether comfortable or unsettling, that has left a lasting imprint.
Through this introspection, each artistic gesture became an act of transformation. Drawing and colour were deliberately linked to specific emotions or personal memories, so that every line, shade, and texture acted as a bridge between the inner world and the external artwork. The visual language was either figurative, abstract, or a combination of both, allowing the imagery to emerge freely according to the emotional weight it carries.
A strong emphasis was placed on the sensorial dimension of creation, particularly the tactile experience—feeling the texture of the paint, the resistance of the surface, the physical presence of colour. This haptic connection reinforced the intimate relationship between artist and medium, enabling a deeper embodiment of the emotional and psychological states being explored.
Ultimately, the work became a space where unconscious fragments were not only revealed, but also reinterpreted and reintegrated, offering the possibility of healing, understanding, and renewed self-awareness.
In the first phase, participants collaborated on a large-scale collective drawing on a long roll of paper. They then painted eyes or portraits on unconventional objects, such as plastic bottles, which were later assembled into a collective installation. Conceived as a form of scenography, the installation incorporated spotlights, transforming the space into a play of light and shadow, where the painted objects themselves became the actors on stage.

Interactive painting

Installation

Final discussion