After art college, where I focused on academic conventions, I found myself attracted to other artistic traditions. I found beauty in medieval painting where perspective that was technically “incorrect” became an asset of its unique visual language

Islamic miniature paintings seemed like jewels, where brilliant color and simplified forms transported me into another world that felt magical and timeless.

Artists such as Morandi, Klee, Kandinsky, Botero and Leonora Carrington expanded those possibilities further. I was curious about how Morandi made ordinary objects feel like living beings. I then became fascinated by Botero’s coherent worlds, governed by their own singular visual logic. Klee showed me how very little is needed to open mysterious doors.

A turning point came when I discovered outsider art. Now, my practice gradually moved away from established conventions, as wonderful as they were.

I felt compelled to develop a private visual language that described autonomous worlds.

I reveled in how these drawings began to take on a life of their own. I found myself serving as both explorer and spectator.

Some of these I dressed in paint. They became inhabitants in realms of their own.

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