My painting practice investigates the portrait as a psychological territory. Within the contemporary figurative tradition—in dialogue with artists such as Marlene Dumas and Claire Tabouret—my work displaces interest from the identity of the sitter toward the emotional state that painting itself can generate. What concerns me is not the physical representation of a face, but the invisible architecture of what it carries within: memory, tension, desire, restraint.

​

I work exclusively in oil on canvas, building paintings through successive chromatic layers where each stratum responds to the previous one. There is no closed plan—the image emerges from a cumulative dialogue between color and form. This process is rooted in the impressionist understanding of color as an autonomous force: Monet’s study of how complementary tones generate light through opposition, and Van Gogh’s conviction that color can express psychological states independently of naturalistic representation. Their written color theory has shaped how I think about chromatic relationships on the canvas.